:CHOOLs/HOM CHICAGO, ILLrNOIS U.S.A. ^^H 4k ^^^^^^^^^^^^^^K '^imiTinfriiHr^ ^_^ ,<''.f!^^^S I^Hp / / ^^^^ r:-^^ ::'^^*^ *? "m ^^ NAVAJO LOOM One of the Earliest Types of Looms. At Hull House. WEAVING 19 crossed the threads over the filHng and made a new opening for the return of the shuttle. At first the filling thread was wound on a stick making a primi- tive bobbin. Later the shuttle to hold the bobbin was devised. SIMPLE COLONIAL LOOM Before the "reed"' was invented, the filling threads were drawn evenly into place by means of a rude comb and driven home by sword-shaped piece of wood or "batten." The reed accomplished all this at one time. It is probable that the European looms were de- lived from those of India as they seem to be made on the same principle. From, crude beginnings, the hand loom of our grandmothers' time developed. A loom The Reed WEAVING 23 has been defined as a mechanism which affects the following necessary movements : I. The lifting of the healds to form an opening, Definition^ or shed, or race for the shuttle to pass through. DIAGRAM OF A HAND LOOM ^— Warp Beam; ^— Cloth Beam ; ZP Z?— Lees Rods ; //—Harness, r— Treddle. 2. The throwing of the weft or filling by means of a shuttle. 3. The beating up of the weft left in the shed by the shuttle to the cloth already formed. This thread may be adjusted by means of the batten, needle, comb, or any separate device like the reed. 4 & 5. The winding up or taking up of the cloth as it is woven and the letting off of the warp as the cloth is taken up. of a Loom SWEDISH HAND LOOM NorAvegian Woman We'aving- Linen at Hull House. liAllKC 25 No essential changes have been made since our grandmothers made cloth a hundred years ago. The ''harnesses" move part of the warp now up, now down, and the shuttle carries the weft from side to side to be driven home by the reeds to the woven cloth. Our grandmothers did all the work with swift movements Colonial Loom DIAGRAM OF THE WORKING PARTS OF A LOOM. 5"— Suttle for carrying the woof; ^— Reed for beating up the woof; H—¥ramQ holding heddles, with pnllies (P) making the harness ; 7^— Treddles for moving the harness. of hands and feet. The modern weaver has her loom harnessed to the electric dynamo and moves her fin- gers only to keep the threads in order. If she wishes to weave a pattern in the cloth, no longer does she pick up threads of warp now here, now there, accord- ing to the designs. It is all worked out for her on the loom. Each thread with almost human intelli- gence settles automatically into its appointed place, and the weaver is only a machine tender. WEAVING 27 No textiles of primitive people were ever woven in Primitive ^ ^ ^ Fabrics "pieces'' or "bolts" of yards and yards in length to be cut into garments. The cloth w^as made of the size and shape to serve the particular purpose for which it was designed. The mat, robe, or blanket had tribal outlines and proportions and w-as made according to the materials and the use of common forms that pre- vailed among the tribes. The designs were always conventional and sometimes monotonous. The decora- tion never interfered with its use. 'The first beauty of the savage woman was uniformity which belonged to the texture and shape of the product.'' The uni- formity in textile, basketry, or pottery, after acquiring a family trait, was never lost sight of. Their designs were suggested by the natural objects with wdiich they were familiar. FIBERS Both the animal and vegetable kingdoms furnish the materials for clothing as well as for all the textiles used in the home. The fleece of sheep, the hair of the goat and camel, silk, furs, and skins are the chief animal products. The principal vegetable fibers are cotton, flax, ramie, jute, and hemp. Cotton linen, wool, and silk have heretofore formed chief the foundation of all textiles and are the principal fibers used for clothing materials. Ramie or China grass and pineapple fibers are sometimes used as adulterants in the manufacture of silk. When woven alone, they give soft silky textiles of great strength and beauty. COTTON Cotton is now our chief vegetable fiber, the yearly crop being over six billion pounds, of which the United States raises three-fourths. Texas is the World's Crop. United States. Texas. PRODUCTION OF COTTON largest producer, followed by Georgia, Alabama, and Mississippi. The remainder of the w^orld supply comes chiefly from India, Egypt, Russia, and Brazil. The Hindoos were the first ancient people to make exten- sive use of the cotton fiber. Not until the invention of the cotton gin by Eli Whitney in 1794 did the cotton begin to reach its present importance. Only 29 30 TEXTILES AND CLOTHING Native Home Sea Island Cottop Upland Cotton four or five pounds of the fiber could be separated by hand from the seed by a week's labor. The modern saw gins turn out over five thousand pounds daily. Cotton is the white downy co/ering of the seed of several species of cotton plant. It is a native of many parts of the world, being found by Columbus growing in the West Indies and on the main land, by Cortez in Mexico, and Pizarro in Peru. The value of cotton depends upon the strength, and evenness of the fiber. In ordinary cotton the individual fiber is about an inch in length. The sea island cot- ton grown • chiefly on the islands off the coast of Georgia, Carolina, and Florida is the most valu- able varietv, having a fine fiber, one and one-half to COTTON FIBER ATTACHED TO SEED Some of the Egyptian cotton be- Sea island cotton is used chiefly finest two inches in length. longs to this species. for fine laces, thread and knit goods and for th; lawns and muslins. The short fiber or upland cotton is the most common and useful variety. It is grown in Georgia, North and South Carolina and Alabama. Texas cotton is similar to upland, but sometimes is harsh with shorter fiber. Gulf cotton occupies a position between upland and sea island cotton. The Brazilian and Peruvian cotton yields a long staple and is sometimes used to adulterate silk and UPLAND COTTON PLANT WITH FULLY DEVELOPED BOLES From Bulletin No. 31, Georgia Experiment Station. COTTON BOLE FULLY DEVEL- OPED From Year Book of the Department of Agriculture, 1903. BOLE OPENED, COTTON READY FOR PICKING Year Book of 1903. 34 TEXTILES AND CLOTHING Nankin Cotton Spinning Qualities Other fibers. Some varieties of this cotton are harsh and wooly and are prized for use in mixing with wool. The Nankin cotton grown in China and India and in the southwestern part of Louisiana is characterized by its yellow color. It is used in weaving cloth of various kinds in the "fireside industries" which have become popular in the United StaJ^es and England, A A- COTTON FIBERS -Unripe Fibers; i? i?— Half-ripe Fibers C C— Ripe Fibers. Very fine yarn can be spun from cotton because of the spiral character of the fibers. This twist of the fibers is peculiar to cotton, being present in no other animal or vegetable fiber. On account of this twist, cotton cloths are much more elastic in character than those woven from linen, the fibers of which are stiff and straight. After the removal of the seed, no other fiber is so free from impurities — 5 per cent is the loss sustained COTTON 35 by cleaning and bleaching. In its natural condition, cotton will not dye readily because of a waxy sub- stance on the surface of the. fibers. This must be remoVed by washing. Cotton should be picked only when it is fully ripe when the pods are fully burst and the fibers expanded. The unripe fiber is glassy, does not attain its full ip|l|£il'!i Picking and Ginning COTTON BALES Strength and resists the dye. After picking, the cotton is sent to the ginning factory to have the seed removed. It is then pressed into bales by hydraulic presses, five hundred pounds being the standard bale in the United States. Purified bleached cotton is nearly pure cellulose. It resists the action of alkalis well, but is harmed by hot, strong acids, or if acid is allowed to dry on the fabric. It is not harmed by high temperature, and so may be ironed with a hot u'on. Physical Character- istics WOOL FIBER AND SUBSTITUTES 1. South American Wool; 2, Noil from the Same; 3, Tangled Waste; 4, Waste Combed Out; 5, Lap Waste; 6, Shoddy. WOOL 37 WOOL Wool is the most important animal fiber. Strictly speaking the name applies only to the hairy covering of sheep, but the hair of certain goats and of camels is generally classified under the same terms. The wool fiber is distinguished by its scale-like surface which gives it its felting and spinning properties. Hair Character of Fiber MICROSCOPIC APPEARANCE OF WOOL FIBERS as distinguished from wool has little or no scaly struc- ture being in general a smooth filament with no felting properties and spinning only with great difficult}'. Fur is the undergrowth found on most fur-bearing animals and has in a modified way the scaly structure and felt- ing properties of wool. The orreat value of wool as a fiber lies in the fact that it is strong, elastic, soft, very susceptible to dye stuffs and being woven, furnishes a great number of Value for Clothing 38 TEXTILES AND CLOTHING Quality Of Wool air spaces, rendering clothing made from it very warm and light. Climate, breed, and food influence the quality of the wool. Where the pasturage is barren and rocky, the wool is apt to be coarse. Varieties of Sheep MERINO RAMS The Variety of Sheep Giving the Finest Wool. There are supposed to be about thirty distinct varie- ties of sheep, nearly half of which are natives of Asia, one-third of Africa, and only four coming from Eu- rope, and two from America. Wool is divided into two general classes — long and short staple, according WOOL 39 to the average length of fiber. The long fiber wool is commonly carded, combed and spun into zvorsted yarn. The short fiber is usually carded and spun into woolen yarn. The short fiber obtained in combing long staple wool is called "noil." It is used for w^oolens. Alpaca, Vicuna and Llama wools are obtained from animals wdiich are native to the mountains of Peru Goat Wools ANGORA GOATS and Chile. The Angora goat, originally from Asia Minor, furnishes the mohair of commerce. This fiber does not resemble the hairs of common goats in any respect. It is a very beautiful fiber of silky luster, which constitutes its chief value. 40 TEXTILES AND CLOTHING Fur Sorting Wool The fur of beavers and rabbits can be and is used in manufacture, either spun into yarn or made into felt. The fibers of both animals enter largely into the manufacture of felt hats. The fleece of sheep after being sheared is divided into different parts or sorted, according to to the qual- WOOL FIBERS -Medium Wool; i5>— Camel's Hair ; 6— Diseased Fiber; (/—Merino Wool: e — Mohair. Scouring Wool ity of the wool, the best w^ool coming from the sides of the animal. As it comes from the sheep, the wool contains many substances besides the wool fiber which must be re- moved before dyeing or spinning. This cleansing is called scouring. Before scouring, the wool is usually dusted by machines to remove all loose dirt. The scouring must be done by the mildest means possible in order to preserve the natural fluffiness and bril- lianc}- of the fiber. The chief impurity is the wool IVOOL 41 grease or "yolk" which is secreted by the skin glands to lubricate the fiber and prevent it from matting. In the scouring of wool, soap is the principal agent. Soft soap made from caustic potash is generally used Scouring Agents ONE METHOD OF WOOL SORTING 1— The Best Grade ; 2— Lowest Grade ; 3— Fair ; 4— Medium Grade. as it is less harmful than ordinary hard soda soap. Potassium carbonate— ''pearl ash"— is often used in connection with the soap. If the water for scouring is hard, it is softened with pearl ash. The temperature 42 TEXTILES AND CLOTHING Hydroscopic Moisture of wash water is never allowed to go above 120^ F. The scoured wool weighs from a little over a half to one-third or less of the weight of the fleece. Wool has the remarkable property of absorbing up to 30 per cent or more -of its weight of water and yet not feel perceptibly damp to the touch. This is called WOOL SORTING "hydroscopic moisture." To this property wool owxs its superiority as a textile for underclothing. The thoroughly cleansed fiber is made up chiefly of the chemical substance keratin, being similar in com- position to horn and feathers. In burning it gives off a characteristic disagreeable odor. It is a substance very weakly acid in its nature, for which reason it combines readily with many dyes. Wool resists the action of acids very well, but is much harmed by the alkalis, being dissolved completely by a warm solution of caustic soda. High temperature harms wool. FLAX 43 FLAX Next to wool and cotton, flax is used most largely in our textile manufactures. The linen fiber consists of the bast cells of certain spe- cies of flax grown in Eu- rope, Africa, and the Uni- ted States. All bast fibers are obtained near the out- er surface of the plant stems. The pith and woody tissues are of no value. The flax plant is an annual and to ob- tain the best fibers it must be gathered before it is fully ripe. To obtain seed from which the best quality of lin- seed oil can be made it is usually necessary to sacrifice the quality of the fibers to some extent. flax Unlike cotton, flax is contaminated by impurities Treatment ' -^ ^ of Flax from which it must be freed before it can be woven into cloth. The first process to which the freshly pulled flax is submitted is that of ''rippling" or the removal of the seed capsules. Retting, next in order, is the most important operation. This is done to remove the substances which bind the bast fibers to each other and to remove the fiber from the central I'LAX 45 woody portion of the stem. This consists of steeping the stalks in water. (i) Cold water retting, either running or stagnant Retting water. (2) Dew retting. (3) Warm water retting. RETTING TANK ^— Inlet; ^—Undisturbed Water; C— Bundles of Flax. Cold water retting in running water is practiced in Belgium. Retting in stagnant water is the method usually employed in Ireland and Russia. The retting in stagnant water is more rapidly done, but there is danger of over-retting on account of the organic mat- ter retained in the water which favors fermentation. In this case the fiber is weakened. In dew retting, the flax is spread on the field and exposed to the action of the weather for several weeks 'LAX 47 without any previous steeping. This method of retting is practiced in Germany and Russia. Warm water retting and cliemical retting have met with Hmited success. When the ret- ting is complete, the flax is set up in sheaves to dry. The next operations con- sist of ''break- ing," "scutch- ing," and "hackUng" and are now done b}' machinerv. FIBERS OF FLAX Breaking removes the woody center from the retted and dried flax by being passed through a series of fluted rollers. The particles of woody matter adher- ing to the fibers are detached by scutching. Hackling or combing still further separates the fibers into their finest filaments — 'line" and "tow." The "flax line" is the long and valuable fiber ; the tow, the short coarse tangled fiber which .is spun and used for weaving coarse linen. When freed from all impurities the chief physical characteristics of flax are its snowy whiteness, silky luster and great tenacity. The individual fibers may Hackling Character- istics of Linen FLAX A, Unthrashed Straw; B, Retted; C, Cleaned or Scutched; D, Hackled or Dressed. (Photogrraph of C. R. Dodg-e). HACKLING FLAX BY HAND The "Tow" Is Seen at the Left and a Buncli of "Flax line" on the Bench. (Photograph of C. R. Dodge, Special Agent U. S. Department of Agriculture. Ramie 50 TEXTILES AND CLOTHING be from ten to twelve inches in length ; they are much greater in diameter than cotton. It is less pliant and elastic than cotton and bleaches and dyes less readily. Linen cloth is a better conductor of heat than cotton and clothmg made from it is cooler. When pure, it is, like cotton, nearly pure cellulose. Besides the linen, there is a great number of bast fibers fit for textile purposes, some superior, some in- ferior. India alone has over three hundred plants that are fiber yielding. One-third of these furnish useful fibers for cordage and fabrics. The next in importance to linen is ramie or rhea, and China grass. China grass comes from a different plant but is about the same as ramie. The staple is longer and finer than linen. The great strength of yarn made from it is due to length of the staple. The variety and great value of the ramie fibers has long been recognized, but difficulties attending the separation and degumming of the fibers have pre- vented its employment in the manufactures to any great extent. The native Chinese split and scrape the plant stems, steeping them in water. The common retting process used for flax is not effective on account of the large amount of gummy matter, and although easy to bleach it is difficult to dye in full bright shades without injuring the luster of the fibers. Jute Jute and hemp belong to the lower order of bast Hemp fibers. The fiber is large and is unfit for any but the JUTE GROWING IN LOUISIANA From Culture of Hemp and Jute. Report of U. S. Department of Agriculture. SILK 53 coarsest kind of fabrics. Jute is mainly cultivated in Bengal. The fiber is separated from the plant by retting, beating, etc. Olona, the textile fiber of Hawaii, is found to have oiona promising qualities. This plant resembles ramie and belongs to the nettle family also, but it is without the troublesome resin of the ramie. The fiber is fine, light, strong, and durable. The Philippines are rich in fiber producing plants. The manila hemp is the most prominent, of which coarse cloth is woven, besides the valuable cordage. The sisal hemp, pineapple, yucca, and a number of fiber plants growing in the southern part of the United States are worthy of note. These fiber industries are conducted in a rude way, the fiber being cleaned by hand, except the pineapple. SILK The silk fiber is the most perfect as well as the most beautiful of all fibers. It is nearly faultless, fine and continuous, often measuring from looo to 4000 feet iong, without a scale, joint, or a blemish, though not of the same diameter or fineness throughout its entire length, as it becomes finer as the interior of the cocoon is approached. Silk differs from all other vegetable or animal fibers by being devoid of all cellular structure. Southern Europe leads in the silk worm culture — where Italy, southern France, and Turkey, with China and India. Several species of moths, natives of India, China, and Japan, produce the wild silk. The most 54 TEXTILES AND CLOTHING important of the "wild silks" are the Tussah. Silk plush and the coarser varieties of buff colored fabrics are made of this silk. While manufacturers do not favor the v^ild silk, the coarse uneven weave and soft- ness make it a favorite with artists and it is being used for interior decoration as well as for clothing. Silk The silk of commerce begins with an ^gg no bigger than a mustard seed, out of which comes a diminutive caterpillar, which is kept in a frame and fed upon mulberry leaves. When the caterpillars are full grown, they climb upon twigs placed for them and begin to spin or make the cocoon. The silk comes from two little orifices in the head in the form of a glutinous gum which hardens into a fine elastic fiber. With a motion of the head somewhat like the figure eight, the silk worm throws this thread around the body from head to tail until at last it is entirely enveloped. The body grows smaller and the thread grows finer until at last it has spun out most of the substance of the body and the task is done. If left to itself, when the time came, the moth would eat its way out of the cocoon and ruin the fiber. A few of the best cocoons are saved for a new supply of caterpillars ; the remainder are baked at a low heat which destroys the worm but preserves the silk. This now becomes the cocoon of commerce. Reeling Next the cocoons go to the reelers who wind the ^^^^ filaments into the silk yarn that makes the raw ma- SILK 55 terial of our mills. The cocoons are thrown into warm water mixed with soap in order to dissolve the gum. The outer or coarser covering is brushed off down to SILK —CATERPILLAR, COCOON, CHRYSALIS, MOTH the real silk and the end of the thread found. Four or five cocoons are wound together, the sticky fibers clinging to each other as they pass throu2:h the various guides and are wound as a single thread on the reels. 56 TEXTILES AND CLOTHING Organize and Tram Boiling Off Loading Silk The silk is dried and tied into hanks or skeins. As the thread unwinds from the cocoon, it becomes smaller, so other threads must be added. At the mill the raw silk goes to the "throwster" who twists the silk threads ready for the loom. These threads are of two kinds — ''organize" or warp and "tram" or filling. The warp runs the long way of woven fabric or parallel with the selvage and it musi be strong, elastic, and not easily parted by rubbing. To prepare the warp, two threads of raw silk are slightly twisted. Twist is always put into yarn of any kind to increase its strength. These threads are united and twisted together and this makes a strong thread capable of withstanding any reasonable strain in the loom and it will not roughen. For the woof or tram which is carried across the woven cloth on the shuttle, the thread should be as loose and fluffy as possible. Several threads are put together, subjected to only a very slight twist — just enough to hold the threads together so they will lie evenly in the finished fabric. After the yarn leaves the spinners it is again run ofif on reels to be taken to the dye house. First the yarn is boiled oiT in soapy water to remove the remaining gum. Now the silk takes on its luster. Before it was dull like cotton. The silk is now finer an.d harder and is known as "souple." The silk fiber has a remarkable property of absorb- ing certain metallic salts, still retaining much of its SILK 57 luster. This process is known as "loading" or "weight- ing," and gives increased body and weight to the silk. Silk w^ithout weighting is known as "pure dye," of which there is little made, as such goods take too much silk. REELING SILK For the w^eighting of white or light colored silk goods, tin crystals (stanous chloride) are used and for dark shades and black, iron salts and tannin. By this means the original weight of the fiber may be increased three or four hundred per cent. This result is not attained, however, except through the weakening of the fiber. 58 TEXTILES AND CLOTHING Action of Common Salt Artificial Silk Character- istics of Silk Value of Raw Fibers Common salt has a very curious action on weighted silk. It slowly weakens the fiber. A silk dress may be ruined by being splashed with salt water at the sea- shore. Most often holes appear after a dress comes back from the cleaners ; these he may not be to blame for, as salt is abundant in nearly all the bodily secre- tions, — tears, perspiration, urine. Artificial silk is made by dissolving cellulose ob- tained from cotton. It is lacking in strength and water spoils all kinds manufactured at present. Silk, like wool, has the property of absorbing con- siderable moisture without becoming perceptibly damp. Like wool and all the animal fibers, it is harmed by alkalis-. The important physical properties of silk are its beautiful luster, strength, elasticity and the readi- ness with which it takes dyes. Silk combines well with other fibers, animal and vegetable. A comparison of the relative value of textile fibers may be seen from the following approximate prices : Cotton — $.07 to $.14 per pound; loss in cleannig and bleaching 5 per cent. Flax — $.12 to $.30 per pound; loss in cleaning and bleachil^g about 20 per cent. Wool — $.15 to $.30 per pound; loss in scouring 20 to 60 per cent. Raw Silk — $7.00 to $10.00 per pound ; loss in "boiling off" about 30 per cent which is made up and much more by "loading." MODERN METHODS All the complex processes and machinery of the textile industry are but developments of the old-time methods of the home. Brief outlines only will be given here for the processes are most intricate in detail. SPINNING The spinning of cotton yarn (thread) is typical of — Uueveu; c— For wiry fabrics; rf— Tacking; 6— Over- castiDg; /—Double or tailor overcasting. cut from the spool, but should always be cut from the work. Breaking weakens the fastening and biting off soils delicate work with the moisture from the breath, to say nothing of the injury to the teeth. Basting for large work should usually be done with the goods ly- ing flat on the sewing table. Fastening^ the Thread 10 TEXTILES AND CLOTHING Drawing Basting Thre«di Running Stitch For ordinary work, basting threads should be cut every few inches and drawn out. In velvet, every al- ternate stitch should be cut and drawn out on the right side with the pile of the goods. In the basting for vel- vet where the slanting stitch is used, only one end of the stitch touches the line o| the seam — the rest is on the outside of the seam. Silk thread should be used POSITION OF THE HANDS IN RUNNING to baste velvet and gauze; fine thread should be used for basting delicate work. (2) Running is closely related to basting. It is not used for any seams that have to bear great strain, but for joining seams in this material, gathering, tucking, making cords, etc. The stitches are usually of equal length on both sides. Take one stitch in the seam and hold the goods between the thumb and first finger of each hand, as shown in the illustration, with the back of the thimble on the eye of the needle. Then, with as free wrist motion as possible, run or shake the needle through the material. The motion of the hand should come from the elbow joint. STITCHES AND THEIR USES III Gathering, gauging, casing, etc., are used for draw- ing up the fulhiess of skirts, ruffles, flounces, etc., into a given space. The running stitch is used for these. For gathering, the cloth is held in the same manner as for running. The needle, ordinarily, need not be taken out of the work, the stitches being pushed back over the eye as they are made ; but for running long skirt seams in delicate material which would crinkle at the line of sewing and roughen the seam, the needle should be drawn through and the line of sewing smoothed on the thread at each needleful of stitches. Never use a double thread for gathering, as it is apt to knot, but put in two lines of gathering threads — one a full one-eighth of an inch below the other — and slip the stitches along the needle as described above. This method is a saving of time in 'the end. When the gathering threads are in, remove the needle, place a pin vertically close to the last stitch, and wind the thread around it a few times in the form of a figure eight. Use a coarse needle for stroking. Hold the work between the thumb and fingers of the left hand with the thumb on the gathering threads. To place the gathers, put the point of the needle under the lower gathering thread and press the plait or gather under the thumb, drawing the needle down, or simply press- ing on the needle. Care must be taken not to scratch or tear the material. Continue entirely across the gathers, putting the needle under each stitclr and hold- ing the plait firmly between the thumb and finger : turn Gatherlnr Stroking 112 TEXTILES AND CLOTHING Gauging Running and Back Stitch Half Back Stitch Back Stitch the material and stroke the upper edge of the gathers. The gauging stitch is usually longer on the face than on the back, draws the material up into distinct plaits, making it easy to dispose of the fullness neatly, regu- larly and securely by overhanding the top edge of each plait to the bottom edge of the band. The right side of the skirt and the right side of the belt are placed against each other and each gather oversewed to tlie belt. The space into which the material is to be gath- ered determines the length of the long stitch. The succeeding rows of stitches should be directly under those of the first. (3) The running and back stitch is made by taking a few running stitches, drawing out the needle and making a back stitch over the last running stitch to strengthen the seam. Care must be taken not to hold the side next the worker too full and not to miss the under material, but to take the stitches even on both sides. (4) The half-back stitch is made by taking one stitch and placing the needle half way back, then bring- ing it out twice the length of the stitch and placing the needle half way back each time from where the last stitch ended. The appearance on the right side will be of regular space as in the running stitch. (5) The back stitch is made by placing the needle back to the last stitch, bringing it out once the length of the last "stitch, then placing the needle back into the STITCHES AND THEIR USES 113 last stitch, and so on, making the stitches follow each other with no space between. This is used in places that are to bear great strain as in sewing in sleeves. (6) Overhanding, oversewing, whipping, top sew- ing: are one and the same — small stitches taken over ; -iii^W^ s ' 1^ ' "A^ •V o ■ > X x^ *. Jy_, ,„ V, — -^* *» i«^. ~-'^::r;^ c i \ ^ ^*««*» PLAIN STITCHES a — Ruimiug; b — Ruuning and back; c — Half back; 'P^ .U' il^M" -"^^^ .-^^^ ^Y^^' ,^^i ..-. ^ '^^-^ ^ ^ ^ ^t)^ r^'^', ^i ----^^^ ■• fit.. Wf ''*. -% •%#. /i^.- si l."??^ *«6t ^t^^i^ #^^ 't ^1 UNDERSET PATCH, RIGHT SIDE, EDGE TURNED AND HEMMED TO PATCH WRONG SIDE OF PATCH, CAT STITCHED 152 TEXTILES AND CLOTHING Onset Patch WRONG SIDE OF PATCH IN TABLE CLOTH-RAW EDGE OVERCAST workmanlike and does not wear well. Keep the cor- ners square and hem down well. The object of press- ing is to keep both garment and patch flat and even. Flannel patches should be cat-stitched on the right side. No flannel edges should ever be inturned. The onset patch is used on lined garments and lin- ings. The patch should be rectangular and larger than LINEN PATCH; CROSS STITCH IiNITIAL 154 TEXTILES AND CLOTHING the worn place. Fold the four edges on the wrong side of the patch, place the patch with its wrong side on the right side of the garment directly over the center of the hole. This will bring the folded edges of the RIGHT SIDE OF FLANNEL PATCH Edge cat stitched but not turned, back cat stitched in the same way. patch between the two pieces of cloth and both right sides towards the worker. Do not baste, but pin care- fully. After the garment has been folded back until there are two folded edges side by side, overhand the DARNING 155 seam with even slanting stitches. See that the corners are well sewed, that warp and woof threads run in the same direction, that pattern and stripes match. The worn part of the garment under the patch is cut away, leaving one-fourth of an inch on the three sides. Cut the corners diagonally and turn back the edge quarter of an inch, overcast and press. If this patch is sewed on a lining, the worn part is not cut away. If this patch is used to repair skirts near the band, only three sides are oversewed, the upper edge should be gathered into the band. A large patch is less conspicuous than a small one. An onset patch may be used for the seats of trousers by shaping the patch like the pieces on the seats of bicycle trousers and stitching on the machine. Heavy cloth will need no inturned edges. The same precau- tions are necessary regarding warp and woof, pattern, etc. DARNING Darning is usually done with a running stitch, with or without a piece of net or cloth underset. Thread for darning should be as near as possible the size of the threads in the garment. Whenever it can be done, a warp thread of the garment should be used. No sew- ing silk is fine enough to use without separating the thread and using one of the strands. Never use the thread as it is, as it is too hard twisted. Cotton and linen thread of the finest quality, untwisted, should be used for darning stockings and underwear. Linen may Patch for Trowsers Thread for Darning 156 TEXTILES AND CLOTHING Bias Darn Darning a Three Cornered Tear be darned with linen or mercerized cotton. Cotton is preferable. A long slender needle with a large eye should be used. Darning should never be commenced with a knot, nor finished with a back stitch. A bias or diagonal cut and a three-cornered tear are the most difficult to repair. If the place is badly pulled and frayed, a piece of the same material should be basted on the wrong side of the material and darned in even stitches. Always darning parallel with the warp threads and the woof threads. In the diagonal tear, as the threads are cut diagonally, to prevent draw- ing apart, the darning threads must cross each other. The stitches around any darn should not end in a stiff even line ; this makes a hard edge which does not wear and is unsightly, and uncomfortable if on under- wear. The three-cornered tear may be darned in two ways. Begin by darning diagonally through the center, darn- ing back and forth towards the end of the tear until one-half has been finished; then begin at the center and work in the opposite direction. At the corner, the stitches should form the shape of a fan. The other method, which is the stronger, is done by darn- ing a square in the angle, first with the warp threads, then with the woof threads and finishing each end across the tear. Stocking darning may be done on the right side. Begin by picking up the stitches and drawing the DARNING 157 edges together. This should always be done in any kind of stocking darning, but not so close as to make a wrinkle. In knees and heels of stockings, or knitted under- STOCKINET DARNING OYER NET Interlaced Stitches and Chain Stitches. wear, a piece of net large enough to extend beyond the thin part should be basted carefully; then darn down tlie outer edges of the net and finally the hole or thin place. This makes a strong, neat piece of mending. If the hole i* large, the net may be covered with the i 158 TEXTILES AND CLOTHING chain stitch, thus imitating the knitting stitch. This should be done on the right side of the garment. If the hole is to be filled in with the interlaced stitches, draw the edges together, darn beyond the thin places lengthwise of the knitted garment, making each line of stitches longer until the center of the hole is reached, then decrease in the same manner, making a diamond in shape. Darn across the hole in the same way, taking up every alternate stitch as in weaving. Leave a tiny loop at the end of each row of darning, so that the threads will not draw. Machine Darning-, satisfactory for some purposes, may be done quickly on a double thread sewmg machme. it is best done in an embroidery ring, first drawing the edges together. Loosen the tension on the presser foot, use fine thread with light tension. Sew back and forth, first along the warp threads and then at right angles along the woof threads. The machine will be sewing backwards part of the time, but if the pressure is light, there will be no difficulty. For large holes, paper may be placed underneath. MITERING EMBROIDERY OR LACE The mitering of lace or embroidery is often neces- sary in making collars and in finishing corners. Be- fore applying, plan carefully and select a scallop or portion of the embroidery which will produce the best effects when finished. This can be accomplished by folding the embroidery over at various portions of the MITERING AND JOINING EMBROIDERY ^—Finished with a stitched seam ; ^— Edge hemmed down and cloth cut away underneath ; C— Joined with lapped seam. i6o TEXTILES AND CLOTHING pattern until a suitable point is found. Fold over at right angles and mark along the line to be mitered. The triangle may now be cut, but an extra width must always be allowed for the seam, as there is frequently a slight unevenness and one side may have to be held a little full or stretched to make a perfect match. The mitered seam is over-sewed. After the corner is properly made, cut away the cloth of the embroidery, allowing only enough for an inturned seam on the edge. This seam may be stitched on the machine on both edges, or oversewed to the goods, or the embroidery may be securely sewed on the plain part, after which the underlying cloth may be cut away. This will make an almost perfect corner. Lace may be matched and mitered in a similar way. MATCHING AND JOINING LACE In joining lace, avoid a seam if possible. Select por- tions of the design that will match, placing one pat- tern of the same design over the other. Cut away a portion of the thick part of the pattern underneath and hem the edges and inner part of the design down with fine thread. Smyrna or Torchon lace is more difficult to hem or join when very open or very fine. A small, felled seam is better than lapping and trying to match the pattern. Embroidery can be matched in the same way. Never let two heavy designs lap over each other. The one ITATCHING AND MITERING i6i INSERTION WITH MITRED CORNER, T.\PED AND FACED; EMBROIDERY ROLLED WHIPPED AND GATHERED on the wrong side should be cut out and the edge sewed securely to the upper part of the design. The plain material above the embroidery can be joined by a lapped seam, turning first the right side and then the wrong side and hemming on both sides of the seam. Types of Machines Care of the Machine MACHINE SEWING The sewing machine has taken away much of the drudgery of home sewing, but its use does not lessen the need of skill in hand work. No machine can finish ends of belts, collars, sew on trimming, fastenings, and like work and the finish has much to do with the gen- eral appearance of a garment. All the prominent makes of sewing machines were invented in the decade following Howe's patent in 1846. The two chief types of machines are the lock stitch, using double thread, and the chain or loop stitch, using a single thread. Whatever the make of machine it should be run in accordance wdth the rules accom- panying it. The worker should familiarize herself with the directions for setting and threading the needle, winding the bobbin, regulating the tension and the stitch and all other technicalities of the particular ma- chine she has to operate. Agencies of the various machines usually have skilled workers to give instruc- tion to beginners. While it is not always an economy of time to use the attachments for hemming, tucking, etc., unless much work is to be done, it is worth while to know how to use them if desired. As much or more skill is required for neat machine work as for hand sewing. Results will not be satisfactory without careful basting. The machine should be kept well oiled, free from dust and gum and it should be run evenly. In case it becomes "gummed" a drop of kerosene on the parts 162 MACHINE SEWING 163 that have been oiled will cut the gum. Remove the shuttle and run the machine rapidly for a moment, then wipe off all the kerosene and oil the machine carefully with good machine oil — only the best should be used. A machine should always be wiped thoroughly before any work is placed upon it. As in hand sewing, needles and thread should be Needles selected with care. A blunt or bent needle should Thread never be used, it should have a fine sharp point and the eye should be sufficiently large to carry the thread easily. The needle and thread should be suitable for the material to be sewed. Glazed thread should never be used In a machine. The best quality of thread and silk should be purchased but only enough for imme- diate use, as it loses strength with age, chiefly because of the action of the dyes and chemicals. Even white thread may become ''tender" from the chemicals used, in bleaching it. Sewing silk and cotton should be kept in a closed box to exclude the light and air. For sewing cotton or linen the best cotton thread should be used. Woolen, silk, and velvet should be stitched with the best machine silk. The thread should match the material in color. Cotton thread fades or loses its brightness when exposed to the light, there- fore for stitching that will show it is always better to use silk. The thread on the bobbin should be wound evenly and carefully to insure an even stitch and the tension of both threads should be equal, otherwise the stitch will not be perfect. As a lock stitch machine 1 64 TEXTILES AND CLOTHING Fastening Threads Bias Side Next Feed requires two threads while in hand sewing only one is used, the two need not be as coarse as the single thread. For ordinary home sewing, underwear, thin gowns and the like, No. 70 to No. 100 will be found satisfactory Finer thread may be used when the ma- terials demand it, but no coarser than No. 50 should be used in the machine and this only with the coarsest material. Much time may be saved in fastening the threads at the ends of tucks, hems on sheets, towels, etc., by careful manipulation of the machine. For example, on sheets begin to stitch along the hem at the selvage, or if the end of the hem is over-sewed, begin an inch from the edge and stitch the hem towards the selvage, then lift the presser-foot so as to turn the work, and retrace the bit of stitching, continuing across the whole hem. When the end is reached, release the presser- foot, turn the work, and stitch back for an inch or more in the same line, as was done at the beginning of the hem. By this method the threads are fastened much more easily and quickly than by drawing them through on to the wrong side and tying or sewing them by hand and, of cOurse, it is more satisfactory than the ''shop" way of cutting them off short. Tucks or seams may be fastened in the same way. If fine thread is used the double stitching at the ends is hardly noticeable. When stitching a seam having one bias and one straisfht side, let the bias side come next to the feed, Gathers MACHINE SEWING 165 that is, on the underside. This is especially impor- tant in thin materials. If the material is very sheer, strips of soft paper — newspaper will answer for or- dinary purposes — should be sewed in the seam. This will insure a seam free from puckers and when fin- ished the paper can be pulled away easily. In sewing gathers on a band they should also come stitcwng next the "feed," as it takes up the side next to it a little faster than the upper side. When the bias, or cross-way side of the seam, or gathers are next to the "feed" the material runs along smoothly, but if the straight side is towards it there is apt to be a pucker. Stitching can be done more easily on the right of the presser foot with the bulk of the material lying to the left. The tenflency of the "feed" or teeth is to crowd the work off the edge as well as forward and the stitching may be guided better on the right side All straight seams should be stretched to the full extent of their straight edge in stitching, as the work passes under the presser foot . When a large amount of machine sewing is to be done — such as household linen, sheets, pillow cases and underwear — it is a good plan to do all the basting and hand work first and keep the machine stitching for a rainy or a damp day, as the thread is then less apt to break. A current of air or a breeze from an open window on a dry day will often cause the thread to snap. For the same reason the machine should never stand near the fire or radiator. TEXTILES AND CLOTHING PART II Read Carefully. This test consists of two parts, — an- swers to the questions and the making of models. Both should be sent to the School for inspection and correction. All models should be made about 4 by 6 inches so that they may be put into the envelope provided without being folded. Two series of models are given; either or both may be made. 1. What instruction have yon ever had in sewinsr? (b) Has the subject any educational value? 2. What are the common basting stitches, and for v^hat are they used? 3. Can you make the running stitch properly ? How is it done? 4. For what purpose may the cat stitch be used? 5. Hems and Seams : Describe the different kinds for thick and thin materials, including those for flannel and state when they should be used. 6. Describe three kinds of plackets. 7. How are gathers made, and how sewed into a band? 8. What can you say of fastenings? 9. With what sewang machine are you most famil- iar, and w^hat are its peculiarities? 10. What stitches or methods described in this les- son are new to you? Note: After completing the answers, sign your full name. TEXTILES AND CLOTHING MODELS, FIRST SERIES I. Stitches. On a piece of cotton about 4 by 6 inches, make with colored thread (i) a line of even basting stitches, (2) uneven basting stitches, (3) tacking, (4) running, (5) back stitch, (6) running and back, (7) half back. With embroidery silk make a row each of (i) cat stitch, (2) single feather, (3) double feather, (4) chain, (5) rows of French knots with border of outline stitch. Make your initial in one corner, using any stitch preferred. Overcast one long edge of the model, double overcast the opposite side, finish one end with plain loop or blanket stitch, and the other end with some fancy loop stitch. Fasten all threads as described in the text. II. Seams and Hems, (a) Join two pieces of fine cotton with a French seam at the long edge, about 2 by 5^ inches, with warp running lengthwise, (b) Cut a piece of muslin on a true bias and attach the bias ^dgt to a w^ith a felled seam, (c) Trim the model and hem all sides so that the finished model may measure 4 by 6 inches. III. Darning and Patching, (a) In gingham or figures cotton, make an underset patch of a square hole, matching the goods, (b) Darn a three-cornered tear. IV. Fastenings. The proper distance . from the edge, of folded goods make Ca) button hole, one end rounded and the other finished with a bar tack, (b) Under it make a partly fin- L TEXTILES AND CLOTHING ished, barred buttonhole. (c) Below this make an eyelet hole, (d) below the eyelet hole a loop, and sew on an eye. On a second piece of folded goods opposite the first buttonhole, (a) sew a four-hole button, corresponding in size to the buttonhole, (b) Opposite the second buttonhole sew on a two- hole button; (c) below, on other side of the goods, sew on two hooks for the loop and eye. Make the two parts of the model so that the corresponding fastenings will join. V. Apron. Using fine muslin, make a doll's apron, gathering into band at top. Above hem at the bottom, make two clusters of tucks of three each. MODELS. SECOND SERIES. FOR EXPERIENCED WORKERS I. Rolled Hem ; Hem Stitching. Make a doll's apron of fine muslin, attach top to band with rolled, whipped gathers. Make two clusters of tucks of three each at the bottom and hem stitch the bottom hem. n. Sleeve Placket. Make a taped sleeve placket as shown in the illustration HI. Make a Slot Seam, using dress goods and finish with an arrow head, (b) Make a large cloak buttonhole. IV. Mitre Embroidery and finish as shown in the illustration, (b) Match and join the same. V. Embroidery: Make something small and use- ful — a doily, stock, collar — illustrating some style of embroidery, or make a model of the first series which will afford you the most new experience. Textiles and Clothing Part III I ^ MAKING MEXICAN DRAWN- WORK TEXTILES AND CLOTHING PART III DRESSMAKING The greatest obstacle to home sewing of any kind is the failure to provide suitable materials with which to do the work. To do good work — to make attractive gowns — the simple tools which the work requires must be provided. First, there should be needles and pins of the best quality and make. They should be fine and well pointed. The needle should be suitable to the material to be sewn and sufficiently large to carry the thread easily. A blunt or bent needle should never be used. Long or milliner's needles are preferred by many for basting. A good supply of thread should be kept on hand — not too great a quantity, but the stock should be added to as it is used. There should be both silk and col- ored cotton, also twist for button holes, loops and arrow heads and knitting silk to sew on and finish feather bone. Two pairs of scissors are required — one with long, sharp blades, and a pair of medium sizes for snipping machine stitches. Among the other necessary articles are a tape meas- ure, cake of wax, pencils or tailor's chalk, tracing wheel, emery, lap board. Good Tools Necessary Thread Scissors i68 TEXTILES AND CLOTHING Cutting Table Canvas, scrim, or any like material should be kept in the sewing room, as these are invaluable for fac- ings, linings of collars, cufifs, etc. Hooks, eyes, but- tons, tape, linings, featherbone and shields are requis- ites not to be forgotten. Tapes Tape is constantly needed. Linen tape is thinner and makes a neater finish for some purposes than cot- ton tape. The bias tape or binding now kept by the larger stores is very useful for bmding curved edges and for other purposes. If a regular cutting table is not available, the din- ing room table should be used. Skirts, bodices, ruf- fles, and bias bands should be cut on firm, even, and large surfaces. If cut upon the floor or bed and pressed on a coarse crash towel, the garment will have the undesirable home-made look. A good pressing board should be provided and if possible a sleeve board. In the process of garment making of any kind too much stress cannot be laid upon constant and careful pressing. The ironing board should have for its outside cover a finely woven, perfectly smooth cloth, tightly stretched, free from wrinkles, and securely tacked. Where there is gas, a small, portable stove should be kept near the sewing table with a medium-sized flat iron. Lacking gas, one of the single burner oil stoves may be used. An electric flat iron is especially con- venient. BustForm A bust form is a great convenience in fitting and Pressing Board PADDED BUST FOHM ^From l>rr?9niakin? I'li-to-Dato, ButUriik Co. ) 11)9 170 TEXTILES AND CLOTHING almost a necessity for one who does much home dress- ing. These may be purchased at department stores. Some kinds are adjustable, but it is always best to make a carefully fitted lining for it and pad out to the correct shape and size. The pattern should be one that extends well over the hips and heavy unbleached muslin may be used. After padding firmly, the front opening should be oversewed. Special care should be taken with shoulders and neck and the neck band should be carefully adjusted on the figure. A padded sleeve lining is also very useful in mak- ing sleeves. Dressmaking never should be begun until each needed article required for the work has been pur- chased. The sewing room should be in order; the machine well oiled and wiped before any work is un- dertaken. Skill ^^ ^^^ finished garment is to be perfect, careful at- Ta^le Mention must be given to every detail of the cutting and making up. To possess mechanical skill alone is not sufficient. A successful garnient depends not only upon the dexterity with which the worker manipulates the actual tools of her craft, but upon all her faculties and her power of applying them. She must have a comprehension of the laws of beauty in dress, con- struction, ornament, color, selection, economy. The artisan knows the technical part only, and looks upon each dress — each piece of lace and velvet — as so much material to be snipped and cut and sewed, copying from the fashion plate, making gown after gown alike. The artist, on the other hand, makes the gown PATTERNS 171 to suit the individual wearer, considering each dress no matter how simple — and the simpler, the more art- istic — as a creation designed to suit the woman for whom it was planned. People who study economy from principle will never adopt anything extreme in weave, or color, or make. These extreme fashions are never lasting; they are too conspicuous and are vulgarized by bad copies, while a thing which is known to be good and beautiful once will remain so for all time. Those who are beginners in the art of dressmaking should select plain designs until skill is acquired. The making up and finishing of new fabrics and new or untried meth- ods are problems that often dismay even the most experienced dressmaker. PATTERNS The makers of good and reUable patterns are many. Always buy patterns of firms that make proportion of figure as well as fashion a study. These patterns state length of skirt, waist and hip measure and quan- tity of material required in all widths. Buy a skirt pattern with correct hip size, as it is much more diffi- cult to change this than to alter the dimensions of a waist. Adjust the pattern to the figure for which the garment is to be cut and see that it is right in all of its proportions. Always follow the notches indicated in the seams of the pattern, and thus avoid putting wrong pieces together. Be sure that the pattern is Selection of Patterns 172 TEXTILES AND CLOTHING placed correctly upon the material with the straight grain or warp threads of the goods running directly on a line with the straight perforations indicated in the pattern. Lay the entire pattern upon the cloth. This gives an idea just where every piece is to come out. What the All patterns give one-half of the bodice and the ^^Gives skirt, from center of back to center of front. The plain waist pattern consists of back, curved side piece, under arm piece (sometimes these two pieces are in one) front, upper' and under sleeve, collar or neck band. Some patterns allow for seams — others do not. Skirt patterns give only one-half of the front gore. The scam edges of front gore are marked by one notch near the waist line. The front or straight edge of the first side gore has one notch, and two on the back edge of side gore. All the gores may be dis- tinguished from the edges of the back gores by the lesser number of notches. This is true of all skirt pat- terns. If the patterns are studied carefully, all skirt cutting becomes very easy. The object of goring a garment is to take out un- necessary fullness at the top ; reducing the weight, making the garment less clumsy, and giving a nicety of finish which could not be done in heavy material if all the goods were left to fit into a band. Skirts may be lined or unlined, gored or full. SEVEN-GORED SKIRT The style may vary with die fashion, but a well- fitting skirt should hang even around the bottom edge, SKIRT MAKING 173 should fit easily around the hips without being strained or defining the figure too closely, or ''ride up" when sitting, should flare slightly from hips to the bottom of the skirt, should not fall in between the feet, the back should fall well behind the figure. For heavy goods, as little material as possible consistent with the prevailing style should be used. PLAN OF SKIRT MAKING Shortening or lengthening of pattern if neces- sary. Placmg of goods. Pinning on of pattern so there is no waste. Cutting. Removing and care of patterns. Pinning, basting, or tacking of skirt to lining. Joining of seams, fitting. Stitching. Pressing. Finishing of seams and placket hole. Making and putting on waist-band. Marking length and finishing the bottom. Fastenings, loops, braids, hooks and eyes. To lengthen or shorten a skirt pattern, measure the Lengthening figure and regulate the length of the patterns by mak- paue?ns^"'"^ ing a fold in each gore two-thirds of the way from the top of the pattern if too long. This is for the simplest skirt pattern. The shape of the skirt may re- quire two folds, one two-thirds from the top and a small fold near the bottom to preserve the outline. If too short pin the pattern on the material, cut 174 TEXTILES AND CLOTHING Testing Patterns Cloth Patterns around the top of gore and on each side two-thirds of the distance from the top of gore. Unpin and draw the pattern down to the bottom and cut the required length. Except for wash material, do not turn a gored skirt up at the bottom to form a wide hem, as the full- ness made by turning is hard to dispose of neatly and the right curve at the bottom of the skirt may be lost. Another way to lengthen the pattern is to cut it in two, two-thirds the distance from the top. See that all pleats or tucks are exactly the same width and at the exact distance from the top or bottom of the gore, also that all seams are of the right lengtb. A shorter skirt must be proportionately narrower. It is well to test the skirt and waist patterns by using inexpensive materials, such as calico, gingham, or cheap lining. Cyt, baste, fit, and make this as care- fully as if it were the best cloth or silk. If the skirt and waist are satisfactory, the pattern will do duty for several seasons. The plain waist pattern is the foundation for any waist and many changes can be made easily with a well-fitting skirt and plain waist • pattern as a basis. As paper patterns soon wear out, after a waist and skirt have been perfectly fitted, it is a good plan to cut an exact pattern of cambric, both skirt and waist, tracing seams and notching the parts. This will en- able the home dressmaker to cut and make all ordi- nary dresses with little trouble and with but one try- ing on. It is always well to try on once, as rriaterials differ in texture and a slight change may be neces- sary. PLACING PATTERNS r.,. ,^li}J:^% left on plain or syminetrieal designs ; at the right, on floured or napped goods. «-Half of nont gore; ^/-Second gore : c-Third gore- rf-Back gore; ^- Front waist; /-Under arm piece; ^-Side barkV A- Back ; ^-Outside sleeve ; j-Umitr sleeve ; c' rf-Pieeing of gores c 76 TEXTILES AND CLOTHING Placing Patterns Pinning Patterns Cutting Out If the material is plain, has no nap, or if the de- sign is perfectly symmetrical, the gores may be al- ternated, the top of one gore coming opposite the bot- tom of the next. The half pattern of the front gore is always laid on a lengthwise fold of the goods. If the goods is wide, the other gores may be cut double with the cloth folded lengthwise. With narrow goods, the cloth may be folded end to end after the middle gore has been cut out, and the other gores cut double. Care should be taken that the line of holes in the middle of the gores runs exactly in a line with the warp of the material, i. e., parallel to the selvage. If the goods has a figure, the design should run up- wards. Any nap should run downward, except with velvet or velveteen, in which it should run upwards. With such goods, the gores if cut double must be placed on a lengthwise fold, with the lengths running the same way. If the goods is narrow, the gores may have to be cut single, reversing the pattern (turning it over) so that both pieces may not be for the same side. Pin the middle of the pattern to the goods and smooth towards each end, pinning securely at top and bottom. Avoid too many pins and pin carefully, oth- erwise the pattern will be displaced. After the pattern is securely pinned, cut out the gores, using long, sharp shears. Care should be taken not to lift the material from the table, not to have jagged, uneven edges, as both time and material will SKIRT }f.lKING 17: be wasted in straightening them. Open the shears as wide as possible, taking a long sweep of the mate- rial, and do not allow the points of the shears to come together. Mark all notches with basting thread, tailor's chalk, or notch the goods if it does not ravel. The back gores should be cut in the same way. They are usually wider than the front gores and may require piecing, which should be done along the warp threads. Now remove the pattern, pin carefully all pieces to- gether and fold as little as possible. The trinity — pin, press — should be written in large letters in every basfc^ ^ sewing room, for much of the beauty of the gown de- pends upon these three. To join the skirt, pin the side gores to the front gores, beginning at the top, with pins running across the seams, then begin at the top of the skirt and baste downward, allowing all unevenness to come out at the bottom. Baste straight and evenly, taking one stitch at a time. Several stitches should never be taken at once on thick or piled goods, as the side next to the sewer is apt to be fuller in that case. When all seams are basted, try on the skirt and make all changes neces- sary before stitching. Both the outside skirt and any under or "drop" skirt should be fitted as carefully as a waist. If the skirt is to be lined the lining should be made and fitted first, then ripped and the outside carefully basted on the lining, being well stretched over the lin- ing, care being taken to have the warp of the outside Joining: the Skirt Lined Skirt 178 TEXTILES AND CLOTHING Stitching' Skirts Finishing Seams Stiffening Placke^; and the lining run the same way. This will prevent the lining from drawing the goods. A stitch of medium length should be used on all seams whether white goods or cloth. If the stitch is too long, the seam, will "gap" and will show the thread ; if too short, the seam is apt to draw. The line of stitch- ing must be absolutely parallel inside or outside of the basting or the curve will be ruined. Use silk or the best cotton for stitching skirts and be sure that the needle is not too coarse. After stitching, all bastings along the seams should be taken out by cutting the thread in several places. Never pull a basting the length of the skirt. The seams should be opened and pressed according to directions. The seams may be finished with a taffeta binding, over- cast, stitched flat or notched, as the case demands. If stiffening is used at the bottom of a lined skirt it should be fitted to each lining gore separately and se- curely stitched. A light weight canvas should be stitched to a heavy cloth skirt at the bottom, if sev- eral rows of stitching or braid are to finish the bottom of the skirt. The placket may be finished before the two back gores are pinned to the front, if preferred. If done be- fore joining the gores the placket can be pressed bet- ter and the front is not so liable to be crushed. On the left side of the skirt sew an underlap of sufBcient length to extend well below the end of the opening. Face the rigth side of the opening with a piece of the goods. SKIRT MAKING 179 or tape not too wide, hem or cat-stitch to the skirt, and finish with hooks and eyes, loops, or any fastening that will secure the placket. The skirt is now ready for the band, which should be narrow. Always cut parallel with the selvage and the length of the underlap longer than the waist meas- ure, allowing for turning at the ends. The band should never be thick and clumsy and not too tight. Try on the skirt and fit the band carefully, marking the seam with pins, a line of basting, or chalk. Hold the skirt easy on the band and baste with small stitches, then stitch on the machine. If the skirt is too tight around the hips the plaits will fall apart at the back. If the skirt is stretched on the band the seams will not fall in a straight line. After the band is securely stitched and finished with hooks and eyes adjust the length by turning under at the bottom and pinning, after which baste all around and try on again to make sure that the leng4h is correct. A gored outside garment should be finished w-ith a true bias or a fitted facing, carefully stitched on. It is possible to finish the bottom of a simple house dress or thin skirt with a hem if the fullness made by turn- ing is disposed of in gathers or fine pleats. A bias fac- ing, however, is always preferable. If of heavy or lined goods the finish should be velveteen or braid the same color as the skirt. These bindings come in different widths and grades. Braids should always be shrunken by wetting and drying thoroughly; one wetting is Putting on Band Finishing the Bottom i8o TEXTILES AND CLOTHING not enough. Velveteen should be applied loosely, so as not to shrink or draw after it becomes damp on the skirt. Applying The right side of the velveteen should be carefully- Binding basted with small, even stitches to the edge of the facing. It may be hemmed to the facing or machine stitched just inside the basting, which need not be removed. It is then turned, allowing a very narrow portion to show below the edge, and basted with close stitches, pressed, hemmed down to the facing by hand, or cat stitched without turning the edge. Be careful not to let the stitches show on the right side, nor let the binding twast or pucker. The joining of the vel- veteen should be near the seam in the back. Another method is to cut off the bottom edge of the skirt a quarter of an inch from the turning Ime; apply the wrong side of the velveteen to the right side of the skirt, baste carefully close to the edg.^ and stitch on the machine through velveteen, cloth, and lining (or facing) just inside the basting which is left in. The bottom of the raw edge is turned up, basted close to the edge allowing the velveteen to show a very little. The upper edge of the velveteen is secured as before by turning and hemming or catstttched with- out turning. The illustration shows this method of applying the velveteen which is first stitched to the lining and turned with the edge. This make a firm, rather stiff finish. Braid Braid is stitched on to the bottom of a skirt with SKIRT MAKING i8i a narrow edge showing-, or it may be applied like the velveteen, with a doubled edge at the bottom. The doubled edge will wear better. Skirts that are to be washed and therefore which are very likely to shrink must be finished at the bot- tom with a wide hem — at least six inches — the full- ness made by turning being disposed of carefully in pleats or gathers. Finish of Wash Skirts APPLYING VELVETEEN BINDING 1 82 TEXTILES AND CLOTHING Trace Seams Baste Lavishly Altering Waist Patterns If desired, the bias seam down the back of the skirt may have a narrow woven tape or selvage of thin goods stitched in with the seam. This strengthens the seam and prevents dragging. The skirt when finished should always be longer in front than in the back. All cloth dresses demand every detail of finish to make them complete and able to stand hard usage, but simple house dresses and thin summer dresses do not require such careful finish. SHIET WAISTS. In planning a waist the same rules should be ob- served in placing patterns, etc., as described for skirts, except that the lines and seams should be traced with a tracing wheel or marked carefully. In making a waist of any kind care must be taken to cut all the pieces the proper way of the material. The difficulty of putting garments together after they have been cut properly is due to undue haste, lack of care in details and insufficient pressing. The ap- parently simple act of basting is really of primal im.- portance, particularly in the making of a waist. One need never be afraid of basting too much or too care- fully. Economize cloth and time in cutting, but use basting lavishly. The waist pattern may be made shorter by laying folds across both back and front. The fold across the back should be two inches above the waist line and across the front two inches below the arm's eye (in the back). Securely pin or baste the folds in the pattern. SHIRT WAISTS 183 If the pattern is of nearly the correct size it may be only necessary to make the waist shorter and smaller. The neck and arm's eye will seldom need altering. The sleeves may be shortened in the same )vay by lay- ing folds in the pattern, above and below the elbow. PLAN FOR MAKING A SHIRT WAIST After the waist is cut, remove and care for the patterns. Make the sleeves, cuffs and collar band first. Make box plait on right or left side as liked by the wearer and hem on the other side or face. Baste shoulders and under-arm seams. Try on the waist, making all changes necessary by enlarging or taking up seams. Pin for neck band and mark for seams. Fit sleeves and mark places for seams. Arrange fullness and place tape at back of waist line. If the pattern is for a plain, one-seam sleeve with the Making cuff opening at the end of the seam, hem each side sieeve of the opening one or tw^o inches from the bottom, gather the bottom between the notches, lay the gath- ers, baste the right side of the sleeve band or cuff to the wrong side of the sleeve, stitch and press, fold in a hem on all edges of the cuff, fold the cuff over on the wrong side of the sleeve, baste, oversew the ends of the cuff, press and stitch the cuff close to all edges. After thus attaching the cuff, baste and stitch the long seam of the sleeve and gather at the top between notches. The cuff is usually cut in the direction of the warp of the goods. i84 TEXTILES AND CLOTHING The sleeve described is the simplest that can be made. If the sleeve is to open at the back and finished with a tape, with a placket, strap or fancy lap, the seam in the sleeve is stitched first and the cufif afterward ad- justed. PLAIN SLEEVE WITH CUFF, SHOWING GENERAL METHODS OF SEWING ON BANDS The box plait is made if desired and the under arm and shoulder seams basted when the shirt waist is' ready to try on. Make any change in the seams neces- sary. The neck band is put on in the same way as the cuffs, sleeves sewed in, fullness arranged at the back and a tape placed at the waist line. Three hooks or other fastenings should always be placed at the back to attach to corresponding fastenings in the skirt band. The bottom edge of the waist may be finished by over- casting. Collar SHIRT WAISTS 185 If it is desired to have the fullness cut away at the Bottom waist line in front, determine the length, allowing suffi- ^^"^^^ cient for a blouse, gather the waist at the bottom and sew the fullness on to a band. Sometimes this band is carried entirely around the waist. The fit of the collar or neck band is very important nt of in any kind of a waist. Both the front and the back may be cut higher than the pattern, as it is easy to cut off in adjusting and more goods cannot be added. To the unskilled the simplest garment Is sufficiently difficult. It is wiser to make two or three perfectly plain garments before attempting to make an elaborate one. After the pattern has been tested, fitted and all nec- essary changes made, cut a pattern from the fitted waist of cambric or cheap neiv muslin and mark or trace all seams. (Kever use old, worn-out sheets from which to cut a pattern.) After this permanent pattern has been made, do not change a single line. If a plaited or tucked waist is to be made, all plait- Tucked ing and tucking should be done first, after which the same order of making is to be followed for a plain waist. No waist should draw or strain across the bust. This is especially important in tucked or pleated waists. To guard against this tendency, a graduated tuck can p^n be pinned on either side of the front, beginning with wa*s1f nothing at the shoulders and widening at the waist line. This is done before the pattern is cut and will allow for especially full bust. The fold should be on a thread of the goods. Waist i86 TEXTILES AND CLOTHING LINED WAISTS The plain, closely fitted, lined waist, with the curved back and side forms is the most difficult to make and requires the greatest nicety in handling from beginning to finish. The pattern for a bodice of this kind should be of such a shape that in each part the woof threads will TYPICAL BODICE PATTERNS (a) Front, {b) Under Arm Piece, {c) Side of Back, {d) Back, ie) Collar. (/) Outside Sleeve, {g) Inside Sleeve. go as straight around the waist as possible. This makes the warp threads perpendicular and will give almost a perfect bias on the current seams in the back. Do not cut the side forms out of any piece that is big enough, without regard to the w^arp and w^oof threads. If this is done, the threads in each will run differently and all ways but the right one. Tn a well-designed pat- tern the back forms should be nearly as wide at the LINED WAISTS - 187 armV eye as they are at the waist line. The swell of bust and shoulders should be accommodated by the back and from forms. When material is to be cut on the bias be careful tO' have a true bias (the diagonal of a square) around the waist and up the front and back seams. PLAN FOR MAKING FITTED, LINED WAIST. Pin pattern to lining, cut out trace scams. Baste all seams on traced lines. Try on lining, ^lake changes. Rip lining, baste on outside and cut by fitted lining. Baste seams and try on. Make changes if neces- sary. Mark the turn for hem down the front, face and mark for fastenings. Stitch and finish seams. Put on featherbone. Put on collar ; sew^ in sleeves. Finish. In making a lined waist, the lining is cut, basted. Finish and fitted before the outside is cut. After fitting, the First' lining is ripped apart and the outside cut by it. For all firm, heavy materials the Hning should be slightly fuller than the outside, that is, the dress goods should be well stretched over the lining, just as in a lined skirt, and basted closely and evenly, the warp and the woof threads of the outside and lining corresponding. In laying the pattern for cutting the lining, just as much attention should be paid to the direction of the threads as in cutting a striped or figured goods. i88 TEXTILES AND CLOTHING Marking Seams Making Changes In Straight Seams Pinning and Basting All seams should be traced on the lining with the tracing wheel, with a slow backward and forward move- ment, making the porforations clear and distinct. Soft spongy goods that cannot be traced may be marked with a line of basting, tailor's chalk or by taking stitches with a pin along the line to be marked and twisting them in the goods. This will make holes that can be seen, but the twisting does not harm the goods. Always trace or mark the waist line, as this is the starting point from which to pin or baste. Bodice seams should never be begun at the top or bottom, but at the marks or notches that show the waist line, working towards the top and bottom. After the lining is cut out, the seams should be based exactly along the traced lines, with seams out, when it is ready to be tried on. If the pattern has been cut or drafted by the correct bust measure, the back seams should never be changed. If possible, make all changes required by letting out or taking in on the straight under-arm seams, leav- ing the curved ones and the darts untouched. Pins should be used plentifully while the fitting is being done, but they should be replaced with regular basting as soon as they are removed. Do not be afraid of taking up fullness in the lining by darts crosswise at the top of the corset or where the fullness naturally falls in front or back. Such darts should be basted, stitched and pressed flat. If the lining is too short, it may be lengthened by letting out the shoulder seams. LINED WAISTS 189 After the lining is fitted, it is ripped apart, the out- side cut, basted to it and the seams are basted, begin- ning at the waist line. Never use a long thread in basting and always use short, even stitches, especially where any curved seams are to be stitchced on the ma- chine. This rule must be followed invariably if puck- ering is to be avoided. Outside Cut by Lining WAIST LINING BASTED, SEAMS OUT The pattern at the shoulder seams should be shorter in front than at the back. In joining this seam, pin the two portions so that the ends of the seam meet exact- ly at the neck and arm's eye. In basting, stretch the front piece to fit the back, holding it in or puckering it if need be. Pressing will banish the pucker and give an easy seam that will hug the curve of the shoulder, as in a man's coat. Shoulde: Seams igo TEXTILES AND CLOTHING ntting Fitting of Neck and Sleeves When the waist is on the figure, pull it well down to the waist line, pin the front linings together begin- ning with the ne'ck, then lift the waist a little in front to give fullness and pin to the waist line. Mark for the hem down the front, finish the edge with a well-fitted facing under which is a thin bias strip of canvas in- terlining for buttons or hooks and eyes. Marks showing the position of fastenings should be made at this time. The neck and arm's eye should be fitted by making slashes in the curve — never cut around the curve. For the collar or neck band have a true bias of thin canvas or crinoline and draw it around the neck and pin with the ends out, towards the worker. (Never lap anj' edges of waist, belt or collar when fitting.) Mark on the waist w^here the lower edge of the neck band touches. Draw the sleeve on the arm, pin and mark where it sets right, seeing that the elbow fullness is in the right place and that it does not twist at the hand. As in the lining, all changes necessary in fitting should, if possible, be made in the straight seams, as it is difficult to preserve the proper lines of the curved ones. The shoulder seams should be the last one to be basted. After all faults are remedied, the seams are careful- ly stitched along the line or basting, the bastings re- moved, the seams pressed and finished. The last seam. to be stitched securely should be the one at the shoul- der. By leaving this open, all fullness can be smoothed upwards and any trimming can be let into the seam. BACK OF WAIST, WELL MATCHED 191 [92 TEXTILES AND CLOTHING Boning Draped Waist Finish of Bottom of Waist Sew in featherbone by cat stitching to the seam, first finishing the ends by button-hoHng. All seams should be stretched well when sewing on bones of any kind. Curved seams should be notched every one or two inches at the curve and bound or overcast. This al- lows them to lie flat. In a draped w^aist the lining is made separate and not stitched into any seam of the outside except at the shoulder. In fitting the outside the back is pinned on to the lining firmly, then the front and finally at the underarm seams. The seams are then basted, the waist tried on again, alterations made, if necessary, seams stitched and the bottom finished with the lining, as desired. Three eyes or other fastenings should always be sew^ed at the seams in the waist line at the back to se- cure the skirt to the waist, thus preventing it from sinking below the waist line. The finish of the lower edge of the waist is often a problem. If the waist is to-be worn under the skirt, just how to finish or whether to finish it at all is a question. The first step is to trim the edges evenly. A line of stitching and simple overcast will show less through a close-fitting skirt of light weight material. When binding is used, it should lie perfectly flat, twice stitched and pressed well. If the waist is to be worn outside the skirt, a nar- row bias strip of canvas should be basted on the wrong side, the waist turned up over this as directed for LINED WAISTS 193 sleeve and collar finish. Over this a 1:iias facing of silk may be hemmed or cat-stitched. In spite of careful measuring and all care in cutting, the waist may not fit, owing to some deformity or pecul- iarity of the figure. Such figures require especially careful fitting and the hollow place should be filled out with wadding. This needs to be done with the greatest care and nicetv. Fitting Irregularity of Figure MAKING BIAS STRIPS FOR FACINGS Avoid too frequent fittings. The bias portions of the bodice are liable to stretch out of shape and too much handling of the waist takes away the freshness. This is one reason why it is advisable to make the sleeves and collar first in order that the whole waist may be fitted at once and all alterations made to fit both sides. A perfect figure is the exception rather than the rule and the side that is not developed should be well fitted, whether sleeve or bodice. 194 TEXTILES AND CLOTHING Altering Patterns Placing of Patterns COAT OR TIGHT FITTING SLEEVES If it is necessary to lengthen the sleeve, say two inches, cut the pattern at right angles to the lines in- dicated by the dots, above and below the elbow. The slashing should be done exactly at the same distance apart in the upper and under portions of the sleeve in order to retain the proper shape and size of the top and bottom. Separate the parts, allowing one inch above and one inch below the elbow. To shorten the sleeve, lap the slashed part or lay a fold in the pattern instead of slashing. In either case, care should be taken that the fold or lap is of even width all the way across, so that the original shape of the sleeve will not be lost. Too much care cannot be taken in arranging the pattern of the sleeve according to the thread of the goods. Especially is this the case in the two-piece or coat sleeve. Generally the top part of the outside seam and the lower part of the same side should be placed at the edge or fold of the goods, so that the two run in the same straight line. In all cases, the foundation sleeve or lining should be cut and fitted before the ' outer portion is adjusted. Ample time should be given to the fitting and basting of the sleeve. The ''set" of the sleeve is very often unsatisfactory because the cut- ting and original basting was done in a careless man- ner. Remember that greater care is required in sleeve making than in any part of the garment. Each sleeve is complete in itself and one must not deviate from the COAT SLEEVES 195 other in size, arrangement or ornament, or general ap- pearance. They should be cut, basted and fitted alike and if the arms differ in size or length the sleeves must be so adjusted as to conceal the inequality. The sleeves should be made at the same time and before the cuffs, then the cuffs, puffs, or whatever spe- cial trimming is to be applied to them should be put on both sleeves at the same time. If the second sleeve is not made or trimmed until after the first is finished, it will be much more difficult to secure exactly the same effect. If it is impossible to complete both sleeves at one time, make the sleeves one day and the cuffs or trimming the next day. In making the coat sleeves the general methods are the same, but each season brings out new styles which the maker will have to understand before proper mak- ing and finishing can be acquired. Always master the simple and standard patterns and the minor changes dictated by fashion — new fancies and effects — will not be difficult to acquire after a little experience has been gained. The lining for both sleeves should be fitted and the outside cut by them. After economical cutting, trace the seams carefully, joining and baste the outside to the lining, basting both uppers before the under sections. Join the under and upper parts by pinning and basting, the outside seam first, be- ginning in the middle of the sleeve and working toward each end. The outside seams should be begun at the the Parts 196 TEXTILES AND CLOTHING notch at the elbow, working toward each end. Where the sleeve calls for gathering the fullness should be dis- tributed between the notches, and the two portions of the sleeve should be secured at this point, before or after basting the upper or lower portions of each sleeve. FINISHING OF SEAMS Notched at Curves and Bound or Overcast. Adding Cuffs Stitch the seams just outside the basting, then re- move the line of basting along the seam and press. Trim off all rough edges. The inside seam is opened and notched at the bend of the elbow and an inch or two above and below and bound with silk binding ribbon or evenly overcast with twist or mer- cerized cotton. If an elaborate cuff or trimming is to be added to the sleeve, whether full or plain, it should be made sepa- rated and blind stitched to the faced sleeve. In case CO. -IT SLEEl'ES 197 the sleeve is gathered the fulhiess can be put into a narrow band, the exact size of the cuff, the cuff then sewed on the band. In putting the sleeve in the armhole, be sure that both seams are at the same point, that both have the same amount of fullness at the top, and that the plaits or gathers are equally distributed from front to back. The sleeve should be held next to the worker and should lie easy from seam to seam at the under arm. Baste with close, even stitches or back stitch with coarse cotton or twist the same color as the waist. Stitch in the sleeves on this line of basting, keeping the armholes curved while the stitching is being done. Trim off edges and finish with binding or close over- casting. The most careful binding is clumsy compared to the overcast finish. Turn the seam toward the shoulder and hem to the lining over the shoulders. This will do away with the stand-up look that sleeves some- times have. For the sleeve finished plainly around the wrist, a piece of bias crinoline should be fitted at the hand. To do this, turn the sleeve right side out and slip the crin- oline in the sleeve over the left hand and adjust by moving the fingers until the crinoline shapes itself to the sleeve perfectly, then pin and baste at the top and bottom. In this way the crinoline will be neither too short nor too loose and all wrinkling will be prevented. Turn the sleeve inside out and cut off the crinoline one-fourth of an inch from the edge, keeping a per- Putting in Sleeves Finish at Wrist 198 TEXTILES AND CLOTHING fectly true edge, turn the sleeve over the erinoHne, baste the outside part of the sleeve and cat-stitch to the crinoline, then cat-stitch the crinoline to the lining. Remove the lower basting and press. A bias strip of silk sufficiently wide to cover the crinoline is hemmed at the lower edge and to the sleeve lining just above the interlining. Whenever it is possible to do so use the cat-stitch. It is a neat finish, easily and quickly done, takes less time than hemming, besides being less bulky. If the bottom of a coat sleeve is to be left open at the back or slashed, an interfacing of light weight can- vas will be necessary. Turn the outside portion of the sleeve over the canvas, care being taken to turn all corners at the slash, and curves, press and stitch, face after the stitching is done. It may be stitched bet- ter if the back seam is left open. Pressing In the coat sleeve, both seams are curved and should Sleeves , . . be pressed on a curved board. A rockmg chair m- verted, with the rocker covered with soft cloth, makes a good board on which to press the curved seams of a sleeve. COLLARS The shaped, standing collar is worn with waists of all kinds and is always a popular neck finish. In a close-fitting collar made of heavy material an inter- lining of canvas or crinoline is necessary. The inter- nning should be cut one-fourth of an inch smaller all around if the collar is to be blind stitched to the waist. on Collars COLLARS igg If it is to be sewed to the neck, in a seam, the Hning should be the same size as the collar at the neck. Baste this interlining to the collar material, cut oiit the cor- ners of the material, and hem the extended portion to the interlining. The interlining should always be cut bias, whether the outside is bias or straight. Hem the collar lining to the collar. To sew the collar to the neck of the garment, first Putting pin, beginning at the back seam and baste towards the end. The lining may be left free at the lower edge and felled over the neck edge after the collar has been stitched to the garment, or the lining may be stitched in the seam, the seam pressed open and a bias facing of silk or light weight material hemmed on over the seam. The beauty of collars and cuffs depends largely upon the exact turning of corners and finish of ends. These should never be left bulky or clumsy. If preferred, the lining and outside of collar may be seamed and turned. Place the right sides of outside and lining together, the interlining next to the lining, stitch around both ends and top of collar, then turn and press. These rules may be followed in making sailor or any lined collars. Collars made of all over embroidery should be faced with tape on the wrong side before the trim- ming is applied to cover the edge of ruffle or lace. The plain or shirt waist pattern will do duty for many garments — corset cover, night dress, dressing jacket, etc. The upper part of the waist will answer for yoke pattern of different shapes. 200 TEXTILES AND CLOTHING SEAMLESS YOKES Pattern To make a pattern for a seamless yoke baste to- gether the shoulder seams of the fitted waist pattern, place the upper part of the pattern on cambric or stifif paper, with the front of waist on straight edge or fold of paper, trace the shape of the neck yoke any desired depth below the neck line. The lower edge can be cut in any shape, the neck either high or low, round or square. This perfectly fitted yoke pattern can be used for a foundation for lace, velvet, ribbon, net, or .any thin material. The circular yoke made of lace and rib- bon or bias strips can be made to open in front or back. The strips of inserting and ribbon should be basted on the paper pattern and joined by fancy stitches or over sewed. The parts next the neck will need to be held fuller than the outside curve of the inserting. All yokes to be worn under the gown should be made on a well-fitted lining. Never trust to pinning, basting, or hooking the yoke to the waist. The finish of collar, cuffs, girdle and placket are hall- marks of good dressmaking. Well finished ends and corners, the careful adjustment of fastenings, shields carefully fitted to the arm's eye and caught smoothly to the lining — all these are little things that count for more than money spent in expensive ornament. PRESSING PRESSING The success of the finish of every garment depends upon the pressing, whether the material be heavy or Hght, cotton or wool. Garments are always pressed on the wrong side, when being made. The iron used should neither be too hot nor too heavy and the work should be done on a perfectly smooth, well-covered board. For pressing black or dark cloth, the cover of the board should be dark and free from lint, w;hile a ])erfectly clean light cover should be substituted when white or light goods are to be pressed. The whole face of an iron should never be put down on a seam or any part of a waist, but the side or point should be used, care being taken not to stretch a curved seam. A small rolling pin, a broom stick, a chair rocker, or any rounded stick well covered can be used for pressing curved seams or sleeves. This lessens the danger of marking the seams on the right side. These are only makeshifts ; a regular half round sleeve board should be obtained if much work is to be done. In pressing, the iron should never be shoved or pushed, as in ironing. Only heavy materials require great strength. It is possible to press too much as well as too little. Whatever the material, pressing is work that requires to be done carefully and slowly. Allow the iron to touch only the center of the seam, the edges of the seam will not then be outlined upon the goods. Piled goods require infinite care. Uncut Pressing- Board Placing the Iron 202 TEXTILES AND CLOTHING velvet, crape, etc., should never be pressed with the iron flat on the seam. The seam should be opened carefully and over the rounded surface of the board, covered with very soft cotton flannel into which the pile can sink without being flattened. Run the iron with the pile, or the iron may be placed on the side or flat end and the seams drawn slowly along the edge of the iron the same way the pile runs — only the edge of the iron touching the edge of the seam. Corded seams should be pressed in the same way to avoid flattening the cord. Wet Very heavy cloths and chinchilla should have a small stream of w^ater carried along the seam, followed by the iron ; or the seam may be dampened by a soft cloth — very wet. This is the "wet pressing" used by tailors, which is adapted to the requirements of mate- rials used by them, such as serge, tweeds, etc. Press- ing on the right side under a damp cloth is apt to give marks if the cloth gets too dry or if the iron is too hot, but is necessary on finished wool garments. Silk scorches easily and should be pressed very care- fully with a cool iron, light in weight. Some light colors fade or change in pressing. Try a piece of the goods before pressing the garment. If the color does not come back when cold or when ex- posed to the light, do not use a hot iron on the garment. CONSTRUCTION AND ORNAMENT FOR DRESS Many of the principles governing architecture and art apply equally as well to art in dress. Both in archi- tecture and dress, construction should be decorated — decoration should never be purposely constructed. It is by the ornament of a building that one can judge more truly of the creative power which the artist has brought to bear upon his work. The general propor- tion may be good, the mouldings accurate, but the in- stant ornament is attempted, the architect or the dress- maker reveals how much of an artist lie is. To put ornament in the right place — where it serves a pur- pose — is indeed difficult ; to render that ornament at the same time an added beauty and an expression of the desired unity is far more difficult. All decoration should be planned to enrich — not to assert. All jewelry or ornament should form a note in the general harmony of color — a decorative touch to add beauty and to be subordinated to the object deco- rated. It should serve the purpose of seeming to strengthen the whole or to protect the parts receiving most wear. Ornament is everywhere attempted. We see ornament at every turn — good and bad alike — in our homes, on clothes, linen, and kitchen utensils. Carlyle tells us that 'The first want of barbarous man is decoration." We have no record of when this need was felt first. Primitive man after supplying his ac- tual needs, seemed to develop a longing for the beauti- ful, so he ornamented his own body, scratched rude pat- terns on his tools and weapons and gradually devel- Principles of Ornament Purpose of Ornament 204 TEXTILES AND CLOTHING Errors in Ornamentation Embroidery Oped the artistic sense. This love of ornament dates back to the beginnings of the human race and there are no records of a race or a period devoid of it. We see gowns totally lacking in good results because too much has been attempted. The wearer has not con- sidered the efifect as a whole, but has gratified her lik- ing for a multiplicity of ornaments and color which, perhaps would be good in themselves, if applied sep- arately, but which becomes an incongruous mixture when brought together on one garment. Garments which seem to have required great effort in the making and which appear complex in construc- tion should be avoided, for the effect is not pleasing. The gown should set off the wearer, not the wearer the gown. To avoid committing errors against good taste it is essential first to consider the use of any garment and see if it answers the purpose for which it was designed. If any part appears meaningless, this is a sure indica- tion that it is wanting in grace and beauty. The orna- ment should harmonize with the materials, use, and construction of the object to which it is applied. The color must be massed with effect and detailed with care. There can be no ornamentation equal to that which is worked into the material, such as embroidery. The design should be appropriate in form and color and always conventional. Flowers are used most fre- quently for embroidery and passementerie and the Ite- ORNAMENT IN DRESS 205 simple, single flowers are the most effective, such as the daisy, the wild rose, and the flowers of the lily family. These simple flowers are the best because they . radiate from a central point, have strong forms and decided proportions, can be most fully expressed in a few stitches requiring the fewest shades of color, and are admirably adapted for amateur workers. Old Indian stuffs, jewelry, and enamels are rich in suggestions of conventionaHzed flowers. The simple, single flow^ers are repeated constantly, the daisy ap- pearing to be the favorite in these beautiful ornaments. The most beautiful of all conventional flower work, jewel studded, is found in samples of work of the fif- teenth century. They simple suggest the forms of na- ture. The repetition of the same flower in all its as- pects is more pleasing and less tiresome to the eye than a variety of flowers or figures. We find upon analysis that the simple forms are the basis of all decorative art work. Geometrical designs and arabesques are the most difficult, requiring the most exacting and careful work. Narrow bands, braided, outlined, or chain-stitched in simple designs are effective, easily done, and wear well. Braids and any of these stitches may be combined, making durable and effective trimming for sleeves and neck. These simple designs are also appropriate for children's frocks. The French knots are ornamental and dura- ble. All embroidery and passementerie should be rich, close, and continuous. It should not be cut up into Flowers as Ornament Geometrical Designs 206 TEXTILES -AND CLOTHING PASSEMENTERIE OF GOOD DESIGN POOR DESIGN, WEAK CONNECTION pieces and sewed on where it does not serve, or appear to serve, a purpose. Passementerie There is very httle passementerie that is at all suit- able for forming edges, as it is not sufficiently substan- tial, but when it can be found firm and of the right shade it is one of the most beautiful ornaments to edge neck and sleeves. It may be allowed to extend beyond ORNAMENT IN DRESS 207 the dress material, so that the flesh tints may show through the design, thus gradually softening the out- line. Often a narrow passementerie can be found with one strong edge and a good border can be made by joining the two. This cannot be done where the pat- tern is united by a band runnin of the ornament. through the center JOINING NARROW PASSEMENTERIE TO FORM A BORDER A band of velvet or cloth embroidered in outline stitch and French knots of same shade as the garment is a satisfactory edge. Except for yokes, the knots should always be held together with the outline edge. The rich silk braids and passementeries are made of silk wound or woven over cotton and should be used only on dresses which are not intended for hard wear. Such trimmings are, of course, inappropriate' on serges and homespuns and soon become shabby if given much rough service. Laces, like all trimmings, have defined limits within which the}- should be used, though they are often worn indiscriminate!}. ]\lachine made laces, often good in Bands Use ol laces 208 TEXTILES AND CLOTHING Design of Lace Placing of Decorations Simplicity and Harmony The Bow make and design, are now very common, but the best machine-made laces are not cheap in price. Handsome lace should be applied rather plainly, as the pattern is often lost in the gathers. Fine laces are out of harmony with heavy or coarse materials. When lace is desired for flounces that with running patterns which neither advance nor retreat, except in the folds which may be made, will be found most pleasing. Dis- tinct objects, such as baskets, crowns, vases, etc., which suggest w^eight, are unsuitable patterns for so light a fabric as lace. Attention to details is essential in the placing of these decorations, as in the selection or making of them. The worker should take into consideration the shape and size of the bands or pieces of trimming and should note carefully the chief characteristics of the design and above all the junction of leaves, flowers, arabesques, especially in the finishing of the corners of collars and cuffs. Those at all skillful with the use of the needle can attain the most beautiful and artistic results if right laws in color and design are adhered to, even by the use of the simplest stitches, for the beauty of dress lies not so much in the richness and variety of material used as upon simplicity and harmony — a fact too often disregarded. Perhaps no ornament is more abused than the bow. In order not to appear intrusive, ribbons require the most delicate handling. The only excuse for a ribbon ORNAMENT IN DRESS 209 as an ornament is when it makes a pretense of tying. When used as a sash where folds or gathers are con- fined, the tone of the ribbon should, in general, vary scarcely from that of the dress. Whatever the ornament used, whether embroidered Fitness , . of Place band, a ribbon, a cord that laces, a diamond pin, or a jeweled buckle, though it may possess great intrinsic value and beauty, it cannot be considered of real worth as an ornament unless it fulfills the most important condition — fitness of place. Although the art of dress admits of innumerable variations, like all other arts it is subject to the three rules of beauty — order, proportion and hamiony. Ornaments are appropriate on the hems or edges of garments where it serves the purpose of strengthen- ing and protecting the parts most worn, and not sim- ply where fancy or fashion dictates. The natural fastenings and fold centers should be Natural along the axis or center of the body. Any jewelry, buckle, brooch, or ornament used to fasten, secure, or strengthen these centers or to hold bands of embroid- ery, collar, or folds together should be sufiiciently strong to serve the purpose. There must be a reason for position and the purpose of its use must be ap- parent to satisfy the eye. The eye is unconsciously and irresistibly drawn to these natural centers and demands some object there on which to rest— some substance from which the fold emanate— some reason for their detention. If this ornament at the throat or waist 210 TEXTILES AND CF.OTIIIXG fastening collar or holding folds 1)_\ a girdle or clasp is omitted, the eye is disappointed. This does not mean that the ornament, jewel, passementerie, or em- Ibroidery should always be placed in the axis or central line of the figure — this may be carried too far. Slight irregularities often give an effect to hat or gown' that is charmino-. PASSEMENTERIE COVERING FACING Trimming Remcnil^er that trimming is not intended to cover up, but to beautify and strengthen. When, for econ- omy's sake, it is used to cover worn places or other de- fects, it must be selected and applied with great care or it will loudly proclaim its mission. Trimming should mean something — whether jewelry or passementerie. Bands that bind nothing, straps, bows, buckles, or pins that confine nothing offend the taste. A girdle should seem, even if it does not, to belt Dress ORNAMENT IN DRESS 211 in fullness ; it has nu use on a elose-fitting, plain waist. No draperies should be invisibly held ; supply some ap- parent means of confining the gathers. To preserve the lines of the figure there should be unity in the dress. Ai tight-fitting skirt below a gathered waist or a full, ^nity in gathered skirt below a plain waist gives the appearance of two portions of the body instead of the oneness desired. The figure should never be cut across, either above or below the waist-line with contrasting colors, differ- ent shades of the same color, or bands of dififerent tex- ture. Below the waist-line the figure should suggest the elements of strength and these horizontal bands cut the lines of the figure at an angle of opposition, de- stroying the rhythm and grace of the lines. Aluch experience is required in placing horizontal lines of ornament on a skirt efYectivelv. Tn greneral, rows of tucks or ornament should diminish in width from the bottom towards the top. The plain spaces should be greater than those ornamented. When or- nament gives absolute evenness of space division in skirt or waist the effect is apt to be monotonous and unsatisfactory. The natural places of support for garments arc the neck, shoulders and waist. Ornamentation which emanates from these centers or when used for bor- ders, if appropriate in design, is usually successful. 212 TEXTILES AND CLOTHING Appropriate Designs Advantage of Plain Material ORNAMENT OF TEXTILES In addition to ornament added to garment, the orna- ment in the textile itself must be considered. Textiles may be beautiful in weave, but spoiled by the design. Quite as important as intrinsic beauty is appropriateness of pattern. How often do w^e see woven on our curtains, carpets, and garment materials fans, bunches of roses tied with ribbons — ^bows with long, fluttering ends — landscapes, snow scenes, etc. Nothing is beautiful out of its place. A fan suggests coolness and grace of motion, but woven in our tex- tiles it gives the same impression as a butterfly mounted on a pin — something perverted, imprisoned, or robbed of its natural use. Nothing is or ever can be beauti- ful without use — without harmony. Decorations on textiles are not to tell stories. There is a dift'erence between landscape painting and using landscapes as a jnotive for decorating textiles or pottery. In one case the aim is to annihilate surface by producing the im- pression of distance; in the other, the object is to glor- ify the surface only. For the w^oman of limited income it is wiser to se- lect plain material of good texture and weave. Such material is never conspicuous, can be made over, and is always restful and may be interesting. Any good textile must impress itself upon the mind by its sug- gestiveness and beauty of color. There is a difference between what mav be called artistic and decorative ORNAMENT OF TENTILES 213 embellishment of textiles. Each has its place in the world of beauty, but one is the poetry, the other the prose of the art. There is a dignity and restfulness in plain material which is never obtained by varied patterns. When a stripe is used to vary the material, the style of the tex- tile is changed, elongated if the stripe is vertical, and widening if it is horizontal. If the main stripe is cut at right angles with a second stripe, the textile appears more complicated and repose is lost. The same is true of checks, but no pattern is more distracting than large plaids, especially when used for waists, because the regularity of the design renders very conspicuous any inequalities in the shoulders or bust, and the great va- riety of colors detracts from the dignity of the dress. With small checks and narrow, self-colored stripes the effect is different, causing the texture to appear only shaded and not destroying the unity. On garment fabrics the ornamentation should be flat, without shadow or relief. The pattern must en- hance and not mar the figure. If flowers, foliage, or other natural objects are used for the designs, they should be conventionalized — not direct copies of na- ture. A figured textile requires more careful planning than plain material. It may be beautiful when used properly, but it will appear hideous if distorted in the making. A conventional fleur-de-lis pattern, or a long dash which appears and disappears when used in long, stripes ConventionaliicJ Designs 214 TEXTILES AND CLOTHING size of Design graceful folds, adds to the apparent height. These same figures wrongly used spread out awkwardly or become distorted. The size of the design should be regulated by the material — small patterns being used for close, thick fabrics and larger designs, with more delicate colors, for thin material of open texture. Thick, heavy fab- rics require rich, warm colors and the pattern likewise should be rich and decorative. Velvets, velveteens, and heavy cloths for dresses are beautiful in themselves and should not be marred by patterns or trimmings. Spirals or curved lines running crosswise on textiles distort the natural curves of the figure by making seem- ing undulations where none should be and accentuat- ing the prominence of hips and bust. Such patterns should not be used in folds. Texture and Color COLOR Much is to be considered in choosing colors and it is folly to suggest a particular shade for a person without taking into account texture of the textile. Though the color may be good, the weave may destroy what might otherwise have been a success. Not only must color in itself be studied, but quality of color in textiles as well. A shade of red, for ex- ample, in dull silk or lusterless material may be most unbecoming for a woman of a certain type, while it may be w^orn successfully if made in rich velvet or glossy silk. COLOR 215 Some women maintain that they cannot wear green, but nearly all can dress becomingly in this color if the shade and texture is selected carefully. The same may be said of other colors for the many variations should be taken into consideration. The average woman in selecting materials for gowns or house furnishings is apt to be influenced too much by details, as she would judge the merits of a fine piece of needlework, hence the value of good, broad color schemes fails to appeal to her. The chenille curtain, perhaps, suits her because it is full of complex decoration. After having determined the prevailmg color of a Harmony costume, the details should be in Jiannony, rather than contrast in contrast with it. Different tones of one color are more satisfactory than striking contrasts, and even strong patches of light and shade of the same color should be avoided, as well as patches of crude and vivid color. The pleasing contrasts found in nature cease to be happy when attempted in textiles. Use few colors, avoid bright shades except in small quantities. All bright colors should be placed near the face, rather than on or near the bottom of skirts or the edge of sleeves. Avoid strong contrasts; the brighter the color and the greater the contrast with other colors, the louder and cruder will be the effect. "No color harmony is of a high order unless it involve indescribable tints." CHILDREN'S CLOTHES Infants' Clothing Stockinet Undergarments Plainness, purity, softness of texture rather than elaborate ornament should be the main consideration for infants' clothes. The finest and softest of French and Scotch flannels, French linen, dimity, nainsook, and India silk are always dainty and they should be made up very simply with little trimming, but that of the finest. Hems and seam, should be small and neatly done with, perhaps, the daintiest beading inset by hand and feather stitched. Hemstitching is always beautiful, but makes a weak spot which is apt to give out in the con- stant laundering necessary for children's clothes. The skirt and shirt made in one piece, with sleeves to slip into the little outside garment, both to open down the back so that all may be slipped on at the same time without worry to either nurse or baby, will be found a great convenience. Stockinet or webbing, all wool, partly wool, or all cotton, is preferred by may to the plain cloth. The cotton is non-shrinkable, easily made, and finished. This garment fabric has reached such a high degree of perfection that for infants and children of larger growth nothing better can be desired for shirts, skirts, drawers, and tights. It may be had in either light or heavy weight, is easily laundered and elastic, having all the qualities desired in undergarments. Garments made of this material in the manner described give per- 216 CHILDREN'S CLOTHES 217 feet freedom for all organs, besides evenness of cover- ing for the body and lightness of weight — all important considerations in infants' and children's clothing. There should be the same simplicity in construction and material in the garments of children of larger growth. The design should be smaller, more realistic and the color brighter than for grown people. For children's dresses, the pretty ginghams in small children's checks, chambray, dimity, serge, flannels, cashmere are appropriate and serviceable. In making up these simple materials nothing better can be suggested than the plain, straight waist, fitting easily, to which a full skirt is fastened. The sleeves may be of any fashion to add variety. Such a frock is> simple and dignified and has a certain archaic beauty and quaintess that the huge, ugly collars and like orna- ment can never give. With the plain body the grace of the childish form is not lost. The body may be short or long, w4th the trimming at the bottom or edge of the skirt. The gathers fall in long lines or folds, no element of oppo- sition destroying the rythm and grace of the figure contour, when the trimming is placed at the bottom of the frock instead of several bands dividing the skirt. The waist should always be wider in front than in the back. The discomfort and injury caused by ill fitting garments, graded according to age instead of according to size, thus restricting the expansion of the chest and the play of the lungs, cannot be estimated. 2i8 TEXTILES AND CLOTHING With the proper kind of frock a child can indulge in any game without becoming in the least disordered. Dresses for little girls may have drawers made of the same material, thus permitting them the same freedom as the boys. The life of the child is play. Unfortu- nate is the child whose clothing is too good to play in. Of course there should be frocks for gala occasions. Children are sensitive to color and receive much inno- cent enjoyment from being prettily dressed. A child may be made unhappy and timid by ugly clothes, but plainness need not mean ugliness. There are many artistic and simple patterns now being put on the mar- ket and many of the ready-made frocks found in the best shops are satisfactory. Attentions CARE OF CLOTHING Ruskln says, ''Clothes carefully cared for and rightly worn, show a balance of mind and self respect." The freshness of gown or wrap may be preserved by Liuie the little attentions bestowed upon it each time it is worn, which take but a few minutes and mean so much in all departments of dress. By carefully brushing and shaking into folds, removing all spots, hanging right side out, picking and pulling straight flowers, bows, and ribbons as soon as removed, adding buttons and taking up dropped stitches when needed, — all these little attentions if given promptly will keep a wardrobe fresh and in good order. New braid on the bottom of skirts, sponging and pressing, little alterations and ad- dition of new trimming to collar and cuffs, will help to preserve the original freshness of the gown and cause the wearer to appear well dressed. Waists should be turned wrong side out when re- moved and allowed to air near a window. Shields should be cleansed with alcohol and water. Ribbons should be rolled up immediately when taken off and if treated in this way will last much longer and look much daintier. Clothing if moist and dusty and tossed into a dark corner of a closet or trunk can never appear fresh again, and will betray the character of the wearer. It is not the wearing of clothes which tells so sadly upon them, but the manner in which they are cared for. A few garments nicely made, well fitted and properly 219 220 TEXTILES AND CLOTHING Ruffled Skirts Packing Away Clothing Folding Garments 1 cared for are far preferable to twice the number of inferior quality and make. Skirts of thin material having ruffles around th-e bot- tom should be hung upside down by loops sew^ed under the ruffles at the seams. By hanging in the opposite di- rection from which they fall when worn, ruffles regain their freshness. All clothing for the season should be put away in perfect order to be ready for any sudden emergency which may arise. No clothing of any kind should be stored for the season without thorough cleaning and repairing where necessary. Garments that are out- grown should be disposed of, instead of packing theni away. Wool garments should be carefully brushed and hung in the sun to remove and destroy any eggs of moths which may be present. They may be hung in tight cotton bags or packed in tight boxes with all openings posted over as a protection against moths. Tailors' boxes which come flat are not expensive and are useful for this. They should be plainly labeled with their contents. To fold, lay all articles on the bed or table and fold on the seams if possible. Particular attention should be given to sleeves and collars. Coat lapels should be turned to lie flat, collars turned up, and the coat folded directly through the center seam. Skirts and coats w^ith bias seams are not improved by hanging as the bias parts are apt to stretch out of shape. CLEANING 221 No clothing should be put away for the night, even, without first removing all steel pins, as the least damp- ness may cause rust spots. Clothes forms and hangers are so inexpensive that every gown and coat should have its own. Skirts should be hung exactly on the form and no part of the band should be allowed to sag. If fancy waists are put in drawers or boxes, they should have the sleeves filled with tissue paper and the collars and bows should be pulled straight. Remove Pins Hangers CLEANING Large garments require the greatest care in hand- ling and in order to be done successfully, they should be sent to the professional cleaner. All stains and spots should be removed as soon as possible. Fruit and wine stains may be removed by stretching the fabric over a vessel and pouring boiling water through the cloth from a height of a foot or two. The water must be boiling. Ink stains can be taken out of clothing by dipping the cloth in milk, squeezing the blackened milk into one dish and dipping immediately into clear milk until the stain has disappeared. Then finish by washing the cloth in warm water and in soapy water to remove the fat in the milk. Iron rust may be removed from linen and cotton by using lemon juice and salt. Wet the spot with the juice of a lemon, cover with salt and lay in the sun, Fruit and Wine Stains Ink Stains Iron Rust 1 222 TEXTILES AND CLOTHING repeating the operation until the stain is removed, then rinse out the lemon and salt thoroughly. This of course cannot be used on colored fabrics, as it fades the color. Grease Greasc is one of the worst foes to garments and the Spots greatest care is needed to remove such spots from delicate fabrics. If not done at once, the dust and grease together often prove ruinous. When the color and fabric will not be injured by it, warm water and soap is the best agent, otherwise absorbents may be used. French chalk or magnesia powdered, placed upon the spot, and allowed to remain for a time will often absorb the grease efifectually. If the first appli- cation is not effective, brush off, and apply again until the spot disappears. Where water can be used without injuring the cloth, the chalk or magnesia can be made into a paste and spread over the spot. When dry, brush off with a soft brush. In removing fresh grease spots, blotting paper with a warm iron may often be used effectively. If the heat changes the color of the cloth, the iron should be held above the goods. Blood Blood stains may be removed by making a paste of ^*^'"" starch and applying it to the spot. Several applica- tions may be necessary. Solvents Only the best and purest benzine, naphtha, gaso- line, and turpentine should be used for cleaning gar- ments. For removing paints from coarse cloth, pure turpentine is useful, while for silks, velvets and wool- ens, benzine, naptha and gasoline are to be preferred. CLEANING 223 The secret of success in the use of any of these cleans- ing agents Hes in immersing the garments in large quantities of the Hquid. Not less than a gallon should be used for a waist and two gallons will do the work far more satisfactorily. An effort should be made to remove all the worst spots before immersing the whole garment. Those which have not disappeared should then be marked with white thread, colored thread may leave a mark. It is a good plan to enclose the spot with a line of basting. Soak the garment for some time in the liquid, then soap all spots thoroughly and rub gently between the hands until they disappear. Finally wash and rinse the garment in clear liquid and hang in the open air until all odor has passed away. Soap may be used freely with gasoline with good ef- fect. Some professional cleaners use a little of the strongest ammonia in their gasoline tanks. The goods should be shaken well and all folds pulled out straight with the threads of the goods. Velveteen, corduroy, and like piled fabrics can be cleaned successfully if not too much worn, but no amount of cleaning will restore the pile that is worn off. If allowed to stand until the impurities have settled and the clear liquid poured into clean bottles, it may be used for a number of times. This should always be done in the open air. Chloroform may be used for cleaning the most deli- cate silks, though this is rather expensive. Whenever any of these liquids are used to remove spots alone, the spots should be placed upon a soft i)a(l of several thicknesses of old cloth or blotting paper to Cleaning Garments Soap and Ammonia with Gasoline Absorbing Pad 224 TEXTILES AND CLOTHING Cleaning Velvet Before Sending to Cleaners absorb the surplus liquid and the spot should be rubbed from the outside towards the center. A hole may be cut in very soft cloth or blotting paper and placed around the spot to absorb the solvent around the stain and prevent the dark ring being formed. The cloth should be rubbed lightly and briskly until it is dry. It the fabric is light colored, a sponge or a soft piece of light cloth should be used, while for dark fabrics, the cloth used for rubbing the spot should also be dark and free from lint. The rubbing should be done light- ly so as not to wear or injure the texture of the fabric. The blottiijg paper or cloth underneath should be changed frequently until the spot has entirely disap- peared. Velvet hats and bonnets, after all trimming is re- moved, may be cleaned by repeated dippings in benzine or gasoline. The vessel used should be large enough to hold a sufficient quantity of the liquid to completely cover the hat. Of course all dust should be carefully brushed off and all folds ripped and loosened before putting the hat into the liquid. The secret of success lies in having the article entirely free from dust and using a large quantity of the benzine or gasoline. Before sending out garments to be dyed or cleaned, be sure that they are in good condition. All worn places should be mended carefully and all buttons should be removed. Garments that are ripped should have all cut threads pulled out and be free from dust. Dlist silk fabrics with a piece of clean flannel and woolen material with a brush or broom. REPAIRING REPAIRING 225 Fabrics are so much cheaper and so much easier to obtain that patching has almost become one of the lost arts. The twentieth century woman feels that her time is too valuable to be spent in mending the old clothes and that she can better afford to buy new. However that may be, no one disputes the utility of mending. Like so many other duties, mending is half done when well begun. A well made garment of good material should not be discarded when slightly worn, for a patch well put in or a neat piece of darning de- tracts in no way from the value of a garment and may even be a work of art. The children's clothes particu- larly should be kept in good order, for they are made uncomfortable by wearing garments that are out of re- pair, to say nothing of the demoralizing effect upon their characters. Laundering is the great ally to tears and not only doubles the size of the hole, but pulls the threads apart so that it is impossible to make the mended place neat and smooth, therefore all clothing should be mended before washing. Stockings and woven underwear are much worn by the rubbing on the washboard and thin places going into the washing frequently come out as holes, so that it is true economy of effort and time to "run" or darn the thin places before they are worn through. It requires much less time and the garments last longer. Economical Mending: Laundering: and Repairs 226 TEXTILES AND CLOTHING -Boys'. Trowsers Sleeves Table Cloths Lengthening Garments It is a good plan, especially in knees of stockings and knitted underwear, to baste a piece of fine net over a worn or broken place and darn over it. (See Darn- ing.) Thread used for darning should be as near as possible the size of the threads in the garment. Darn- ing cotton, linen, wool, and silk of all shades can be bought, so that the problem of matching is no longer a difficult one. In mending the knees of boys' trousers a round patch should never be used. The seams should be ripped and the piece set in then, if the seams are pressed well, the patch will scarcely be noticeable. When bodices are worn under the arm, rip the seams and set in a new ''under arm" piece. A good plan for one whose dresses are apt to wear through quickly is to have the under arm pieces and the adjacent parts of the front made of two thicknesses of the goods ; then, as the outside wears through, the edges can be hemmed down or taken into the seam. When table cloths begin to wear in the middle fold or along the edge of the table, a few inches cut ofl one end and one side of the cloth will change the fold and the place where it falk over the table and give it a new lease of life. If the hem is turned down once and cat stitched, it will resemble the selvage more than a twice turned hem. In repairing or lengthening garments that have be- come too short, much can be done by adding to the bottom of the skirt and sleeves material of different REPAIRING 227 texture. A cloth or serge skirt may be lengthened by facing with velvet of the same shade, covering the line of sewing with cord, braid, or passementerie of the same shade or black. There should be an under- facing of light-weight crinoline to make the bottom of the skirt firm and to give strength. The same facing and passementerie may be used at neck and sleeves. Thin gowns of lawn, dimity, etc., can be lengthened with a faced or extension hem, the line of sewing to be covered with feather stitch or any of the fancy stitches of white .or colored thread. If the lawn or dimity has a colored figure, the embroidery silk or cotton may match this. Under skirts and drawers may be length- ened in the same way or rows of tucks may be added. In waist repairing, the sewing silk should match the material. Set the patch into the seams when possible and trust to careful pressing. If the material begins to wear near the end of the bones, cut off the bones an inch and take in the dart or seam. If the silk wears off around the hooks and eyes, move them along ever so little. Make a virtue of worn out seams by taking them in and covering them with fancy stitching. If the garment is lined, the outside should be carefully basted to the lining before stitching to take in the seam. It has been said that silk waists are serviceable as long as the upper parts of the sleeves remain good. If garments have not been well cared for from the first and beyond a certain point, "making over" is poor Extension Hem and Tucks Waist Repairing 228 TEXTILES AND CLOTH IS G Mending Blankets Use of Tape Use o( Judgment in Mending: economy. Never attempt cleaning and making over old clothes unless the material is good enough to make it worth while to do the work well. The mending basket is an important adjunct of mending and should be well supplied with darning cot- ton of all colors and sizes, good English tape, black and - white, of different widths, linen tape, bias tape, differ- ent kinds and sizes of needles, — sewing, darning, shoe, carpet, and tape needles. For repairing bands and facings, where buttons have been torn off by wringer or iron, and for strengthen- ing weak places, tape is invaluable. It saves the time required to turn in the edges of the cloth and is less clumsy and bungling. The mender should use good judgment as to the amount of work to be applied to each garment. She should substitute the machine needle whenever possible and not put tiny stitches by hand into half worn gar- ments or in unseen places. Ripped tucks and bands can be sewed in a few minutes on the machine. Serv- iceable darning can be done on the machine. Before putting away freshly laundered clothes it is a good plan to take out the clothes already iji the draw- ers and lay the ones washed last on the bottom, thus all garments will wear alike, each article in its regular turn. TEXTILES AND CLOTHING 229 BIBLIOGRAPHY Home and School Sewing, Frances Patten, ($.60, postage 6c). School Needlework, Olive C. Hapgood, ($.75, postage 6c). Sewing Course for Schools, Mary Schenck Woolman, ($3.50, postage 20c). Sewing Tablets— Graded Sewing Texts with all Materials. Seven parts, by Margaret L. Blair, ($.50 each, postage 8c each). School Garment Drafting, Jennie M. Haner, ($1.00, postage 6c), Lessons in Garment Drafting, Mae Gingles, ($.60, postage 6c). Progressive Lessons in Needlework, Catharine F. Johnson, ($.90, postage 8c). Dressmaking Up-to-date, Butterick Pub. Co., ($.25, postage 8c.) When Mother Lets Us Sew, Virginia Ralston, ($.75, postage 6c). The Art of Millinery, Anna Ben Yusuf, {$2.00, postage 14c). Practical Millinery Lessons, Illustrated Milliner Co., ($1.00, postage 8c). n TEST QUESTIONS The following questions constitute the "written red- tation" which the regular members of the A. S. H. E. answer in writing and send in for the correction and comment of the instructor. They are intended to emphasize and fix in the memory the most important points in the lesson. TEXTILES AND CLOTHING PART III Read Carefully. To make this test of greatest value to you, write fully from your personal standpoint and experience. Try as many methods given in the text as your time will allow so that you may ask for explanation if the descriptions are not clear to you. Methods are many ; if you do not agree with these given, suggest better ones. 1. (a) What are the requisites for good dress- making? (b) How does dressmaking dif- fer from white sewing in make, finish, and ornamentation ? 2. From your point of view what do you consider a successful garment? 3. Give methods of altering patterns. 4. Give briefly the method of cutting and making from patterns; (a) a shirt waist, with cuff open opposite seam: (b) a woolen skirt, including method of stitching, pressing, and finishing. 5. How may pressing be done to give the best re- sults? What garments require little or no pressing, and why? 6. (a) State some of the principles and purposes of ornament, (b) What is your idea of orna- ment applied to garments? (c) Give some errors in ornamentation not named in text. 231 232 TEXTILES AND CLOTHING 7. Cut from magazines illustrations showing your idea of good and faulty ornamentation in dress. Give reason for your opinion. 8. Illustrate in some way, either by picture, draw- ing, embroidery, braid, or stitching, some de- sign appropriate for ornament work on neck or sleeve. 9. Where should ornament be placed, and why? 10. (a) Give your idea of appropriate design on tex- tiles, (b) The advantage and disadvantage of plain materials. 11. Make a color card of silk, wool, paper or raffia showing colors that contrast, (b) Colors that harmonize. 12. What colors do you find satisfactory for your own wear, and why? 13. What materials are best suited for infants' gar- ments? (b) What can you say in regard to children's clothing? 14. What is your opinion of the care of clothing? (b) What experience have you had in clean- ing (a) cotton, (b) wool, (c) linen, (d) silk, (e) velvet? 15. Do you consider it economy to repair garments? Can you suggest better methods than those given in the text? n TEXTILES AND CLOTHING 233 i6. If possible make some garment, shirt waist, skirt, or simple dress while studying this les- son and describe in detail how you went about it, the result, time taken, total cost. Tell why you selected the design, the color, the mate- rial. 17. Have you found the ready made garments satis- factory in underwear and dresses? 18. Tell of some of your failures in dressmaking and give the reasons for your lack of success. 19. What methods, new to you, have you tried in connection with this lesson? What questions have you to ask? 20. Can you add any suggestions that would be help- ful to others in this "work ? 21. Wherein have the lessons been of practical value to you? 22. For Teachers. Draw up an outline for a course in sewing to combine two considerations: (a) adaptability to the child's interests and capaci- ties, (b) orderly sequence in the technical part. Note : After completing the answers, sign your full name. 234 TEXTILES AND CLOTHING REFERENCES: ORNAMENT AND DESIGN Bachelder — Principles of Design in America. ($3.00.) Brown — History of Decorative Art. ($1.25.) Carter, Mrs. H. J. — Historic Ornament in Color. (15c. a sheet) . Prang. Clifford — Period Decoration. ($3.00.) Crane — Claims of Decorative Art. (Out of print.) Crane — Line and Form. ($2.25.) Daniels — Teaching of Ornament. ($1.50.) Day — Application of Ornament. ($1.25.) Day — Nature in Ornament. ($4.00.) Day — Ornamental Design. (Out of print.) Day — Planning of Ornament. (Out of print.) Day — Decorative Design of all Ages. ($0.40.) Day — Ornament and Its Application. ($3.25.) Day — Ornamental Design, Anatomy of Pattern, Planning of Ornament. ($3.00.) Day — Some Principles of Everyday Art. (Out of print.) Glazier — Manual of Historic Ornament. (New edition in press.) Hulme — Birth and Development of Ornament. (Out of print.) Jones — Grammar of Ornament. ($18.00.) Prang — Art and Ornament in Egypt. ($1.50.) Note — The books out of print may be found in some public libraries. TEXTILES AND CLOTHING 235 REFERENCES: HISTORY OF COSTUME Earle — Costume of Colonial Times. ($1.25.) Earle — Two Centuries of Costume in America, 2 vols. ($2.50 each.) Evans — Chapters on Greek Dress. (Out of print.) Fairholt — Costume of England, 2 vols. ($1.50 each.) Hill — History of English Dress. (Out of print.) McClellan — Historic Dress in America. ($10.00.) Planchet — History in British Costume. ($1.50.) Quegly — What Dress Makes of Us. ($1.25.) Racinet — Costume. ($2.00.) Rhead — Chats on Costume. (."Si. 50.) Schild — Old English Peasant Costume from Boadioea to Queen Victoria. (Out of print.) SUPPLEMENTARY PROGRAM ARRANGED FOR CLASS STUDY ON TEXTILES AND CLOTHING MEETING I (Study pages 1-59) Primitive Methods Endeavor to obtain a Colonial spinning-wheel in working order, and get some one to operate it. If possible, obtain samples of weaving done on a hand loom. Examine a hand-loom if possible. They may be seen at the manufacturers of rag and remade carpets. References: Woman's Share in Primitive Culture, Mason, Chapter III, The Weaver. ($1.75, postage i6c.) Colonial Days in Old New England, by Earle. ($1.25, postage I2C.) Textile Fibres Collect an exhibit of raw fibres and fibres in process of manu- facture. Send to the U. S. Department of Agriculture, Department of Botany, Washington, D. C, for small sam- ples; to manufacturers of thread; to friends in manufac- turing towns. Test the various fibres by burning. Examine under a mi- croscope with a small hand-glass, if greater power cannot be obtained. Try warm acid — sulphuric, hydrochloric, or oxalic — on the fibres ; let the fibres dr^, . Also try a solu- tion of caustic soda on the fibres. References: The Textile Fibres, by Matthews. ($3.50, postage t6c.) Textile Fibres and Cotton Fibre, pamphlets of the American School of Correspondence. (50c. each, postage 4c. each.) 236 PROGRAM 2yj Send for all the Government Bulletins men- tioned in the Bibliography, page 104 Note that the free bulletins are obtained simply by addressing the Department of Agricul. ture, Washington, D. C, h\xt the sale bulle- tins only by sending coin or money order to the Superintendent of Documents, Wash- ington, D. C. MEETING II (Study pages 59-102) Modern Methods Visit a textile mill if possible, after studying the text. Practice home dyeing. Read carefully the directions given by the manufacturers of the d^^es. See the booklet "Dia- mond Dyes, " to be obtained at many drug stores, or send for it to Wells Richardson, Burlington, Vermont. References: Text-books of the American School of Corre- spondence — especially Textile Chemistry and Dyeing. (Parts I, II, III, and IV, post- age 4c. each.) The Dyeing of Textile Fabrics, by Hummell. ($1.75, postage I2C.) Bleaching and Calico Printing (containing samples), by Duerr. ($4.00, postage 14c.) Weaves and Fabrics Show as many different kinds of weaves as possible. Separate rate the threads and examine under a hand microscope. Get the local dry-goods or department store to co-operate with you in getting up an exhibit of samples of standard goods — cotton, woolen, worsted, linen, and silk. Label each cample with the width and price. 238 TEXTILES AND CLOTHING Test some of the samples of wash goods for fastness to wash- ing and light, by washing in %varm water and soap (or boiling in the soap and water) and expose to sunlight all day for three or four days. Keep a part of each sample for comparison. (Select a composite set of answers to the Test Questions on Part I and send to the School, with report on the supple- mental work done and Meetings I and II.) MEETING III (Study pages 107-123) Sewing : Plain Stitches Send to manufacturers for samples showing the process ot manufacture of pins, needles, etc. Demonstrate different ways of making the same stitches: discuss best methods. Embroidery Show how all the embroidery stitches are made. Get up an exhibit of all kinds of embroidery, including Oriental, Japanese, old samplers, etc. Have members make Model I, First Series. References: Home and School Sewing, by Patton. ($0.60, postage 6c.) School Needlework, by Hapgood. ($0.75, post- age 6c.) Manual of Exercise in Hand Sewing, by Blair. (Si. 25, postage loc.) Topic: Educational Value of Sewing in the Public Schools. Methods. See "A Sewing Course, "by Mary S. Woolman, Introduction (s$3.5o, post- age 20c.), and 'The Teaching of Domestic Science in the United States of America," by Alice Ravenhill, pages 9-10, 43-46. (So. 7 5, postage 12c.) PROGRAM 239 MEETING IV (Study pages 123-165) Hems, Seams, Fastenings, Darning, Patching Have all members make models II. Ill, IV, and V. Previously assign members to furnish models or examples of all other hems, seams, fastenings, patches, darns, etc., illustrated or described in the text, and as many more as possible. Machine Sewing Get the local sewing machine agent to give a demonstration of the workings of the attachments of the machine. (Select models and answers to Test Questions on Part II and send them to the School, with a report of Meetings III and IV.) MEETING V (Study pages 167-200) Dressmaking Get the local dry-goods or department store to lend different kinds of dress forms. Collect patterns from different makers. Show how patterns are altered to suit the figt^re. (See text and "Dressmaking Up to Date. ") As many as possible cut out and begin making a simple shirt- waist or skirt. Show finished garment at next meeting, giving accurate account of cost and time spent. References: Dressmaking Up to Date, The Butterick Co. ($0.25, postage 8c.) Sewing and Garment Drafting, by Margaret L. Blair. ($1.25, postage 12c.) 240 TEXTILES AXD CLOTHLXG MEETING VI (Stud}^ pages 205-228) Construction and Ornament in Dress ; Color Collect illustrations showing good and faulty ornamentation. Procure satnples of fabrics showing good and faulty orna- mentation. Make a color card showing contrast and harmony of color, (See Question 11.) References: See list on pages 234 and 235. Children's Clothing Get up an exhibit ot simple and satisfactory clothing for children, including color, material, style and make. Discuss children's clothes in reference to laundering. Care and Repair of Clothes Show examples of successful repairing. Try some of the methods of cleaning. (See, also Chemistry of the Household pages 73-84.) (Select answers to Test Questions on Part III and send them to the School, with report on Meetings V and VI.) INDEX Adulteration of linen, 87 Alpaca, 90 Altering sleeve patterns, 194 Angora wool, 39 Aniline dyes, 79 Arrow heads, 123 Aack stitch, 112 Basting, 108 Bibliography, 103, 229 Bleaching, 78 Bobbin, 19 Boning waist, 192 Bow, the, 208 Burling, 83 Bust form, 168 Button holes, 141 large, 145 making, 144 Buttons, sewing on, 145 Carding, 59 Care of clothing, 219 Cassimere twills, 73, 75 Cat stitch, 116 Catch stitch, 116 Chain vStitch, 116 Checks, 213 Children's clothes, 216, 217 Cleaning, 59, 221 Collars, 198 putting on, 199 Color in dress, 214 Colors, mordant, -](.) Combing, 60 Conventional designs, 213 Costumes, references, 234 Cotton, 29 boles, 32 libers, 34 Cotton goods, 85 home of, 30 Nankin, 34 sea island, 30 upland, 30 Cross stitch, 120 Cuffs, 196 Cutting table, 168 Darning, 155 on machine, 158 over net 157 Decorations, placing, 208 Distaff, 12 Double cloth, 77 Draped waist, 192 Drawing tapes, 140 Dressmaking, 167 Dyeing, 78 home, 80 D^^es, aniline, 79 Dyestuffs, natural, 80 Embroidery, 204 as ornament, 204 eyelet ,122 shadow, 123 stitches, 114 Extension hem, 227 Eyelet embroidery, 122 Eyelets, 149 Fabrics, 85 list of, 96 - 102 names of, 94 primitive, 27 width of, 93 Facing, bias, 141 skirt, 179 Fastening the thread, 109 Fastenings. 141 241 242 TEXTILES AND CLOTHING Feather stitch, ii8 Fibers, 29 cotton, 29 flax, 43 silk, 53 wool, 37 Finishes, 139 Finishing skirt, 179 seams, 196 waist, 192 Finishing, woolens, 83 Fitting, 173, 193 sleeves, 190 waists, 190 Flax, 43 fibers, 47 hackling, 44, 47 Flocks, 83 Folding garments, 220 French hem, 127 knots, 119 seam, 131 Fulling, ^i Fur, 40 Gathering, iii, 138 Gathers, whipped, 127 Gauging, 112 Gigging, 83 Gingham. 86 Grease spots, 122 Hand sewing, 107 Harmony in dress, 215 Harness, the, 70 Heddle, 17 Hemp, 50 Hem stitch, 118 Hems, 123 bias, 124 faced, 124 flannel, 127 French, 127 folding, 123 Hems, rolled, 126 Herringbone stitch, 116 Home dyeing, 80 Hook and eyes, 147 Hydroscopic moisture, 42 Jacquard loom, 70 Joining lace, 160 Jute, 50 Knit goods, 72 Lace, design of, 208 Laces, use of, 207 Laundering, 225 Lengthening garments, 226 Linen, 86 adulteration of, 87 characteristics of, 47 Lining, cutting, 188 Loading silk, 56 Looms, 17 Colonial, 19, 21, 22 development of, 19 diagram of, 23 fly shuttle, 26 four harness, hand, 21 Jacquard, 70 Japanese, 20 modern, 25, 69 Navajo, 18 Swedish hand, 24 Loop stitch, 116 Madder bleach, 78 Machine darning, 158 sewing, 162 Mending, 83, 225 Mitering embroidery, 158 Modern methods, 59 Mohair, 90 Mordant colors, 79 Muslin, 85 Nankin cotton, 34 Natural dvestuifs, 80 JXDEX 243 Olona, 53 Ornament, 203 embroidery as, 204 fitness of, 209 flowers as, 205 of textiles, 212 Ornamental stitches, 108, 114 Ornamentation, errors in, 204 Outline stitch, 114 Overcasting, 114, 142 Oversewing, 113 Packing clothing, 220 Passementerie, 206 Patching, 149 Patterns, 171 altering, 173 cloth, 174 lengthening, 173 pinning, 176 placing, 176 selection of, 171 testing, 174 use of, 172 Picking, 59 Piled fabrics, 91 Plackets, 135 faced, 137 Plaids, 213 Plain material, 212 Plush, 77 Pressing, 201 board, 168, 201 wet, 202 Primitive methods, 3 Printing, 81 block, 81 machine, 81 warps, 82 Ramie, 50 Raw silk, 56 Reed, 19 Reeling silk, 54 Repairing, 225 Retting flax, 45 Roving, 61 Running stitch, no Sateen weave, 79 Satin, 91 stitch, 121 Scouring agents, 41 Sea island cotton, 30 Seams, 128 beaded, 131 felled, 128 flannel, 135 French, 131 lapped, 133 slot, 131 Serges, 88 Seven-gored skirt, 172 Sewing, hand, 107 machine, 162 Sewing machines, 162 care of, 162 types of, 162 use of, 164 Shadow embroidery, 123 Sheep, 39 Shirt waists, cutting, 182 plan for making, 183 Shuttle, 19 Silk, 53 artificial, 58 boiling off, 56 fiber, 53 loading, 56, 90 production, 53 raw, 56 twilled, 91 Silk, wash, 91 Silk worm, 54 Silks, 90 Singeing, 78 Skirt, 172 band, 179 244 TEXTILES AND CLOTHING Skirt binding, i8o braid, i8o making, 177 placket, 178 plan of making, 173 stiffening, 178 Sleeve making, 183 patterns, 194 Sleeves, cutting, 194, 195 finish of, 197 pressing, 198 putting in, 197 Slip-stitching, 125 Slot seams, 131 Speck dye, 83 Spindle, 6 whorl, 6 Spinning, 3, 59 primitive, 3 wheel, 12 with spindle, 6 Stains, 221 Stitches, 107 ornamental, 108, 114 plain, 107 Stockinet undergarments, 216 Stripes, 213 Stroking gathers, 1 1 1 Table linen, 87 Teazels, 83 Textile arts, origin of, 3 Textiles, 85, 212 design of, 212 list of, 96, 102 ornament of, 212 weaves, 72 Texture, 214 Trimming, 210 Tweeds, 88 Harris, 89 Twills, 74 Cassimere, 73, 75 uneven, 75 Tucked waist, 185 Tucking, 108 Tucks, 128 Unity in dress, 21 1 Upland cotton, 30 Velvet, 92 weave of, 77 Velveteen, 92 Vv^ai^.ts, 185 lined, 186 plan for making, 187 repairing, 227- tucked, 185 Wash silk, 91 Warping, 69 Weave, 72 diagrams, 73 plain, 73 basket, 76 double cloth, 77 rib, 76 sateen, 76 twill, 74 velvet, 77 Weaving. 14, 69 Wet pressing, 202 Wheel spinning, 12 Whipping stitch, 113 Whorl, spindle, 6 Widths of fabrics, 93 Wool 37 characteristics of, 37 fiber, 36 quality of, 38 scouring, 40 sorting, 40 value for clothing, 37 Woolens, 88 Worsteds, 88 Yokes, 200 0^ 36 '.910 One copy del. to Cat. Div. i)^i 26 ly^y